TOTP Rewind – the 90s | My memories of 90s chart music

TOTP 19 MAR 1999

Two days before this TOTP was broadcast, the comedian and entertainer Rod Hull died in a tragic accident when trying to fix the TV aerial on his roof whilst watching a Manchester United match. A huge name in the 70s and early part of the 80s, he, along with his puppet partner Emu, were a massive part of the childhood of millions, mine included. His appearance on Parkinson in 1976 is part of TV folklore.

By the 90s though, his fame was in decline despite the odd TV commercial appearance and pantomime run. A brief revival of his name came via a regular sketch on Stewart Lee and Richard Herring’s comedy show Fist Of Fun:

When I first started working for Our Price in the early 90s, one of my colleagues used to run a ‘celebrity death list’ every new year asking his fellow co-workers for suggestions of famous people who might die in the next 12 months. It was a very macabre undertaking but we would all engage with it. One year, I suggested Rod Hull as I hadn’t see him on TV for a while and wondered if his health was maybe in decline. I was wrong at the time but a few years later my prediction would sadly come true. I wonder if there are any links to Rod in the acts featured in this particular TOTP?

Jamie Theakston is back as our host and we start with a new hit from Steps who were on a high from their recent No 1 “Tragedy” which remarkably after four and a half months, was still at No 20 in the charts as its follow up “Better Best Forgotten” debuted at No 2. I guess their record label Jive/EBUL couldn’t wait any longer before releasing the next single? Maybe they should have though as there’s never been a more aptly titled song. After distancing themselves from those ABBA comparisons with that Bee Gees cover, “Better Best Forgotten” landed them right back there. Maybe that was the plan though? I’m pretty sure that was mentor Pete Waterman’s strategy all along, to create an ABBA for the 90s.

Interestingly with this track, the lead vocals are shared out between Claire Richards, Faye Tozer and Lisa Scott-Lee on the verses. There was still no fear of H nor Lee Latchford-Evans of literally stepping up to the mike. Within a month, Steps would be back in the charts (“Better Best Forgotten” and unbelievably “Tragedy” were still also Top 40 residents) as part of the “Thank ABBA For The Music” medley featuring themselves, Tina Cousins, Cleopatra, B*Witched and Billie which did absolutely nothing to stem the tide of those ABBA comparisons.

Rod Hull connection: There’s only one and it’s going to sound slightly disrespectful – I’m assuming that there was a ladder with steps involved in the tragic accident that saw Rod fall from his roof trying to adjust his TV aerial. Sorry everyone – that comment really is better best forgotten.

The Beautiful South had been with us for a whole decade by 1999 and delivered not just six studio albums (and a hugely popular Best Of) but example after example of superbly crafted pop songs both lyrically and sonically. They would carry on for another eight years but their journeys up the charts would be much smaller in length from this point on. Indeed, “How Long’s A Tear Take To Dry?” would be their final Top 20 single. The third track lifted from their “Quench” album, it was one of those jaunty, nifty, exuberant pop songs but with a lyrical sting in the tail that they did so well in the tradition of “We Are Each Other”, “Don’t Marry Her” and “Perfect 10”. How can you not enjoy lines that reference Dr. Who’s TARDIS and rhyme ‘tonight’ with ‘shite’?*

*I’m sure Jacqui Abbott does actually sing the ‘s’ word in this performance despite the fact that the subtitles list that lyric as “not on your life”

Although we only get to see it on a screen in the background, the video for this one deserves a mention as it features the band as cartoon character versions of themselves in the style of Hanna-Barbera. Indeed, Paul Heaton is on record as saying that it was produced by the American animation studio. I especially liked the Hull (my home for the last 22 years) references incorporated into it such as The Grafton pub (Heaton lived at No 70 Grafton Street when he moved to Hull in 1983 to form The Housemartins and that was his local) and the iconic Hollywood sign becoming ‘Hullywood’.

Rod Hull connection: This one writes itself – it’s those Heaton/Hull links again.

Just like The Beautiful South, Roxette had been having hits in the UK since 1989 but also like The Beautiful South their commercial power was on the wane. The Swedish duo hadn’t had a Top 10 in this country since 1993’s “Almost Unreal” from the Super Mario Bros. soundtrack and of their last five singles released, only two had even made the Top 40. It was therefore a sizeable surprise when they returned in 1999 with a No 11 hit in “Wish I Could Fly”. The lead track from their “Have A Nice Day” album, it’s a huge, sweeping ballad with an orchestral backing but, just for the shits and giggles presumably, Per Gessle shoved a drum loop* into the mix.

*Actually, it was to see if the two elements could be combined effectively.

You know what, they kind of did mix with “Wish I Could Fly” being a half interesting listen (listen to your half I should maybe have said). It would prove to be Roxette’s last UK Top 40 hit – their joyride around the British charts was over.

Rod Hull connection: I think there’s another bad taste quip to be had here but I won’t go there. Instead, how about that the title of this hit is giving me very strong vibes about another 70s/80s entertainer with a puppet who is no longer with us…

In my mind, a part of 1999 will always belong to Travis who emerged from being just another run of the mill post-Britpop outfit to become one of the biggest bands in the country. How do they accomplish this feat? By releasing their second album “The Man Who” and the UK record buying public being powerless to resist its charms. OK, it wasn’t quite as simple as that but certainly the reaction to that sophomore album couldn’t have been predicted by the reception that their debut collection of songs that was “Good Feeling” had received. That’s not to say it didn’t sell. It did – ultimately achieving platinum status for 300,000 units shifted. It’s just that “The Man Who” saw that number and said “Hold my beer…”. Nine times platinum worth of sales later and having spent 134 weeks on the charts including 43 in the Top 10 and nine at No 1…well, you don’t need to be a maths genius to be able to see the difference.

Now, without wishing to adopt a sixth former / ‘I used to like them before they were big’ attitude, I think I do actually prefer their first album which I bought. That’s not to say I didn’t appreciate what came after it – there’s some cracking songs on “The Man Who” like “Turn”, “Driftwood” and this one “Writing To Reach You”. The album was released in June and built steadily on the back of its two trailing hit singles before exploding in the second half of the year and cleaning up at Christmas and spending five consecutive weeks at No 1 at the start of the new millennium. It was that festive sales period though that I’ll always remember. So fast was the album selling that the Our Price chain I was working for was struggling to keep up with demand. I can’t recall what the issue was, whether it was a pressing plant problem or something else but I have a memory of the buying department pulling out all the stops to get stocks of the album into the stores and back on the shelves. When the stock did arrive, I seem to remember that it had some odd promotional stickers on it as if it had been sourced from abroad. Whatever, it was gratefully received and made no difference to the punters wanting to buy it. I can’t recall who I heard this from (maybe an Area Manager) but I was definitely told that the chain had been three days from going to the wall over Christmas and much of its survival was down to the performance of “The Man Who”. I don’t know how true that last bit was but it has stuck with me all these years.

Enough talk of sales certifications and stock sourcing issues, what about the actual music? Lead singer and songwriter Fran Healy has publicly acknowledged that he stole the chords for “Writing To Reach You” from “Wonderwall” by Oasis – indeed, he references the track in his song’s lyrics and you can’t get much more public than that. 18 months after writing the song, Travis were supporting Oasis on tour and Noel Gallagher said to Healy as they came off stage “Nice chords mate”. For me, the plagiarism doesn’t detract from the quality of the tune though which is earnest yet melodic, yearning but knowing, familiar and intriguing. I wasn’t aware of this before writing this post but apparently this is one of the greatest ‘mash-ups’ of all time…

Healy looks so youthful in this performance with a twinkle in his eye and a look of Roddy Frame about him. He’s a lot more gnarled looking these days and why shouldn’t he be 27 years later.

Rod Hull connection: In 1982, DJ Dave Lee Travis won the ‘Pipe Smoker of the Year’ award. Rod Hull won it in 1993. Ahem.

It’s time for a medical update on Britney Spears and her knee is still causing her problems that are preventing her from being in the TOTP studio in person. As such, we’ll have to make do with another showing of that video for “…Baby One More Time”. In this personal message, she takes the opportunity to plug not just her single but new album of the same name which had just been released in the UK (it had already been available in America for a couple of months). It would do big business over here going four times platinum though it never quite made No 1. It would reside in the Top 20 for just under a year though only a third of that time was spent inside the Top 10. Its Wikipedia entry depicts two different album covers – one for the US release and the other being the international edition. The contrast between them is quite striking. The version we were all used to seeing in our record shops has Britney in a solemn pose with her clasped hands raised to her lips almost in prayer. Meanwhile, the US edition has her kneeling against an all pink background in which she looks much younger and seems to me to be an attempt to appeal to a teeny (maybe even weeny) bopper audience, building on that connection from her The All-New Mickey Mouse Club days. If so, the video for the single “…Baby One More Time” would blow any such association out of the water. The Britney Spears global promotion machine was moving through the gears and would bring her fame and fortune on an unprecedented scale for one so young but at what cost…?

Rod Hull connection: Emu had a track record of hitting people more than one time as Michael Parkinson famously found out.

There have been plenty of times when I’ve complained about the running orders on some of these TOTP repeats but so have you say this one features some pretty decent bands. We’ve already had Travis and The Beautiful South and in a while we’ll be seeing Manic Street Preachers but before them come REM. I’d long since failed to have any sort of focus on their output by this point and consequently must have let this single – “At My Most Beautiful” pass me by which is a shame as it’s really rather good. A piano led ballad that was written as an homage to the Beach Boys and presented as a gift to his “Pet Sounds” loving band mates, it’s widely regarded as the first straightforward REM love song. I think the sentiment behind that comment was that it wasn’t…well…’sentimental’ but a genuine expression of feelings. Certainly Michael Stipe took his time in writing “At My Most Beautiful” – he spent a year coming up with the verse so if longevity is any indicator of authenticity then that description of the song was valid. For his part, Stipe is on record as saying that he was fed up of writing ironic love songs by this point.

The single wasn’t quite the last release by REM for the 90s (there was a track from the Andy Kaufman biopic Man On The Moon starring Jim Carrey right at the end of 1999) but it’s peak of No 10 was a nice way to usher in the end of a decade which saw the band release five studio albums and cross from indie favourites into the mainstream and all the spotlight and expectation which came with that.

Rod Hull connection: None really other than a shared liking of acronyms. For REM read EBC – Emu’s Broadcasting Company which was on our TV screens from 1975 to 1980.

Just like REM, the Manic Street Preachers had also released five albums throughout the course of the 90s. The final of those was “This Is My Truth Tell Me Yours” which would provide them with four hit singles. “You Stole The Sun From My Heart” was the third of those and would give the band their seventh Top 10 hit of their career up to that point. When you consider that six of those came from their previous seven releases starting with “A Design For Life” in 1996 and that they’d only had one between 1991 and 1995 (and that was a cover version), it gives you some idea of how their career had transformed over the course of the decade. In many ways it mirrored REM in that they’d also made the switch (by design or not) to being a mainstream artist with the success of the “Everything Must Go” album after years of developing a fiercely loyal but contained fanbase. However, whereas REM seemed to have peaked commercially and be coming down the other side as the 90s were coming to an end, the Manics seemed to be entering their imperial phase. “This Is My Truth Tell Me Yours” gave them their first No 1 album and single and in the first few days of the new millennium, the standalone track “Masses Against The Classes” would provide a second No 1 single. Both bands have so far recorded 15 studio albums but whereas REM called it a day in 2011 and have yet to reverse that decision, the Manics are still going strong with their most recent album release being 2025’s “Critical Thinking”.

Rod Hull connection: Deeply tenuous this but in December 1998, whilst plugging their Fist Of Fun* live show at the Shepherds Bush Empire during an interview on Capital Radio with Chris Moyles, they said that they were better than the Lightning Seeds but not as good as the Manic Street Preachers.

*Fist Of Fun featured a Rod Hull imposter character remember.

Boyzone have matched the achievement of Britney Spears by staying at No 1 for more than a week with “When The Going Gets Tough”. Presumably the fact that it was the official Comic Relief song for 1999 and that the charity’s telethon event happened on the Friday before the chart was compiled cemented their position. Someone commented on line about this performance that, by this point, you could really tell that the guys in the band were struggling to cope with with what it meant to be a part of the Boyzone project. I can see what they meant. Look at the dead eyes on display. Shane Lynch would rather be anywhere in the world than in the TOTP studio performing a Billy Ocean cover, charity record or not. I said in the previous post that everyone except Ronan Keating and Stephen Gately seems to do very little on stage but maybe they had good reason – that they were miserable and couldn’t be arsed to put the effort in. We’ve all felt like that about our jobs at some point surely? What did they have to be pissed off about though ? They were wildly successful pin up pop stars after all. Well, I haven’t watched the documentary Boyzone: No Matter What but from the reviews that I have read about it, the revelations within it about how they were manipulated by manager Louis Walsh and his lack of loyalty towards his charges is shocking but not unexpected. I’ve always hated this bloke and the description of his portrayal in the film only serve to confirm my beliefs. He’s a total tosser – a disgraceful person. Look at this from The Guardian review of the documentary about his reaction to Stephen Gately coming out to the press apparently against his will:

“When he was 23, Gately came out as a gay man in the pages of the Sun – a massive deal, at that time, for a pop star who was adored and lusted after by millions of female fans. There is a sense that it was not his choice, and one of the most poignant, and telling, scenes in the whole documentary sees Keating, Walsh and Michelle Gately look at the front page splash that revealed the “news”. Even now, Keating is angry and upset about what happened, while Gately’s sister is clearly distressed. And Walsh? “I love it,” he says. “He got the front page.” The tabloids’ coverage of Gately’s death, meanwhile, just 15 years ago, was soaked in homophobic assumptions. It remains disgraceful today.”

Rebecca Nicholson, The Guardian, 02 Feb 2025

Walsh’s comment sums up his character – where’s his humanity? Given his actions and attitude, maybe the Boyzone lads did have genuine grievances.

Rod Hull connection: None but I wish Emu had given Louis Walsh the same treatment he subjected Michael Parkinson to.

Order of appearance	Artist	Title	Did I buy it?
1	Steps	Better Best Forgotten	Never
2	The Beautiful South	How Long’s A Tear Take To Dry?	Negative
3	Roxette	Wish I Could Fly	Nah
4	Travis	Writing To Reach You	No but I had the album I think
5	Britney Spears	…Baby One More Time	No
6	REM	At My Most Beautiful	I did not
7	Manic Street Preachers	You Stole The Sun From My Heart	Nope
8	Boyzone	When The Going Get’s Tough	And no

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree.

https://www.bbc.co.uk/iplayer/episode/m002qx5k/top-of-the-pops-19031999

TOTP 12 MAR 1999

Posted on 6 Days Ago by 80stastic

At last a presenter who isn’t Jayne Middlemiss nor Jamie Theakston! Yes, we have a new presenter who is Gail Porter, someone who has had quite the life and career full of the highest highs and the lowest lows. Gail’s early CV entries included stints on various children’s TV shows before getting her big break on TOTP. She was also a model for magazines such as FHM and it was that part of her life which would result in one of the most infamous news stories and visual memories of the decade. Although it would raise her profile into the stratosphere, it would ultimately cause Porter far more harm than good. A couple of months after her TOTP debut, Gail would awake one morning in May 1999 to find her names in headlines though it wasn’t her head that the story concerned. A nude 60ft tall photograph of Porter was projected onto the Houses of Parliament organised by FHM magazine as part of a marketing campaign to promote their ‘100 sexiest women in the world’ poll. Gail had no idea what had been planned but received a backlash anyway as the perception that she was in on the stunt as a career move was propagated. The incident would lead to Gail not feeling able to leave the house and contribute to bouts of depression. She suffered from anorexia nervosa and was hospitalised before, in 2005, developing alopecia totalis which led to her losing all of her hair. Choosing to deal with her condition literally head on, she declined to wear hats or wigs and used her profile to become ambassador for the Little Princess Trust, a charity which provides wigs to children with hair loss. As if that wasn’t enough to deal with, her marriage (to Toploader guitarist Dan Hipgrave) broke down and she was diagnosed with bipolar disorder and sectioned against her will for 17 days in 2011. In a painfully honest and insightful 2024 documentary called Being Gail Porter, she discussed her two decades of mental health struggles. Knowing all of the above, it’s hard to recall her as this fresh faced, young presenter. Let’s see how she did…

Well, Gail’s first line is about it being her first time and a request to please be gentle with her, a bit of sexual innuendo which feels unnecessary but possibly didn’t raise an eyebrow in the era of ‘lad culture’. We then move straight to our first performance which is…oh this is just getting silly now…a hit that was only just on last week’s show and was now coming down the charts. I know this was nothing new in the Chris Cowey era and that I’ve banged on loads about the practice of repeat showings of songs that were descending the Top 10 but this one has really pissed me off for some reason. Actually, not this one but FOUR songs that were on just seven days ago which are all back on the show. Wait a minute though, am I being unfair here? Having checked out that week’s chart on official charts.com, there’s not one song going up the charts! The whole Top 40 consists of either new entries or songs going down. What was the hell was this?! I guess it was another consequence of first week record company discounting as sales in the second week fell dramatically as the price of a single went up. OK, so were there any new entries that could have featured on the show instead of songs declining in popularity? Well yes, there were three entries inside the Top 10 which were never featured including hits from two of the biggest names in music – Madonna and George Michael! OK, they might not have been available for an in the studio appearance but were there no videos made to promote their singles? Well yes, there were – at least they are easily found on YouTube so was this Cowey’s stupid ‘no promos’ policy at work again?

For the record the first act in this TOTP is Cher with “Strong Enough” which is down from No 5 to No 8 in the charts. I’ve nothing else to say about this one other than that Cher was in the news this week for fluffing her lines at the Grammys when presenting Kendrick Lamar and SZA with an award though in her defence it didn’t seem to be all her own fault…

Gail Porter warns us that this next act’s last single stayed on the charts for three months hinting that the follow up may do the same. Did we heed Gail’s warning? No we did not as Vengaboys spent five weeks inside the Top 10 and two and a half months on the Top 40 with “We Like To Party! (The Vengabus)”. You know, the 90s have provided some awful years of music but I think 1999 might just prove to be the worst and this lot will have been one of the biggest contributing factors as to why. Using those exact same tinny, buzzing and downright annoying backing beats as featured on their first hit “Up & Down”, this was music in its most basic form. No, it wasn’t music, this was anti-music or some sort of tribal chant led opium for the masses causing the general public to lose its collective mind and taste to rush to their local record emporium to buy this colossal shit. “Pushing the boundaries of pop” says Gail by which I don’t think she meant carving out a new art form but shrinking the definition of what could reasonably be described as such. Just horrendous but worse was to come in the shape of two No 1 hits during the year for these absolute dolts. The Vengabus was indeed coming…for us all.

Now in previous posts I’ve stated how I should really explore Skunk Anansie’s back catalogue more based on some of their hits I wasn’t familiar with. However, this next one – “Charlie Big Potato” – has dulled my commitment to that endeavour as it’s far too heavy for my liking. I mean, it sounds like Metallica or someone. And it’s dark as well as heavy. The opening lyrics are “I awake from blood thick dreams” followed a bit later by “I awake, dry the scream, spit the vile breath, till my tongue bleeds”. Bloody hell! Skin’s almost demonic performance here certainly doesn’t add any levity to the whole experience with her seemingly on the verge of kicking out at the studio audience and her weird stage outfit of what seems to be a PVC jacket with dangling, massively oversized pieces of material (I’m not sure they count as sleeves) hanging from her arms. Are they meant to be wings? Is she meant to resemble a bat? The whole thing comes across as far too much for a mainstream pop music show and the aforementioned audience don’t seem to know how to react to what they are witnessing initially before adopting an ‘if you can’t beat ‘em, join ‘em’ approach and just going mental in the really loud bits. The floor managers seem to have run with the element of danger to the whole performance with police tape barriers skirting the stage. “Charlie Big Potato” was a big hit in Iceland which makes sense as the craziness of it puts me in mind of Björk. It was also used in the soundtrack to the deeply disturbing and unpleasant movie Hollow Man starring Kevin Bacon which again makes sense.

Another song going down the charts from No 3 to No 5 is next – “It’s Not Right But It’s OK” by Whitney Houston. This is the third time in a row this performance has been on the show. Week one was an ‘exclusive’ performance before the single was released, week two reflected its debut at No 3 and week three is it descending the charts albeit still remaining in the Top 5. Are all three appearances justified? I can make a case for the first two but surely the third is overkill? Whatever your own opinion on the matter, the upshot is that I have nothing else to say about this one. As a blogger, it’s not right…but it’s OK.

We arrive at the valedictory performance for a band who had eighteen Top 40 hits including a Christmas No 1 and of which only six failed to make the Top 10. A group who courted controversy and were allocated the role of the perceived rivals to the UK’s premier boy band of the 90s. A group who looked to have lost everything but who shortened their name and made one last (partially) successful grab for chart victory. It is, of course, ~~East 17…~~erm…E-17!

Having achieved a No 2 hit against the odds as a Tony Mortimer-less trio with their past single “Each Time”, Brian, Terry and John (thanks for the name checks Gail!) followed it with “Betcha Can’t Wait” which was more of a deliberate R&B sound which they’d plotted without their former chief songwriter. However, whilst I’d unexpectedly appreciated “Each Time”, this one was pure parody. All the same soul stylings were there but the lyrics were laughable. Witness:

“I’m gonna touch you in the right spot baby….Betcha can’t wait, betcha can’t stop…Can’t stop thinking ’bout my love rock, baby come on”

Source: Musixmatch
Songwriters: Brian Lee Harvey / Terence Mark Coldwell / John Darren Hendy / Mark Reid / Jonathon Lesley Beckford / Ivor Paul Reid
Betcha Can’t Wait lyrics © Universal Music Publishing Ltd., Strongsongs Ltd.

“Touch you in the right spot”?! “My love rock”?! This performance is almost like a Fast Show sketch but instead of ‘Jazz Club’ or ‘Indie Club’ they’d turned their attention to R&B and given us ‘Bump ‘n’ Grind Club’. And check out the other two’s (forgotten their names already – where’s Gail when you need her?) ridiculous dance moves! Like I said pure parody. Compare this nonsense to such gems as “Deep” and “It’s Alright”. There is no comparison. What a said way to bow out for the lads who were straight outta Walthamstow.

Two more hits now which were also on only last week starting with “Just Looking” by Stereophonics. As with Whitney earlier, I haven’t got much else to say about this one except to note that their bass player was recreating a look first popularised on the show by Sandie Shaw and her barefooted performances. However, if you’re wanting a band to band comparison, check out Duran Duran’s guitarist Andy Taylor in this clip of them playing “Hungry Like The Wolf”. What happened to his shoes? I don’t know but if you watch him closely, he does seem to be rather out of it like he was in another world. Planet earth to Andy…Is there something I should know?

Also just like Whitney Houston, this is the third time for Blur on the show with “Tender”. Come on Cowey, what do you think I’ve still got left to say about this one?! OK, how about a shout out to the London Community Gospel Choir who also featured on this track. Founded in 1982, look at this list of artists with whom the have either performed or recorded:

George Michael and Liza Minnelli at The Freddie Mercury Tribute Concert
Madonna at Live 8 in Hyde Park
Eric Clapton in Hyde Park
Kylie Minogue in Hyde Park
Blur (again) at the 2012 BRITS
The 1975 at the 2017 and 2019 BRITS
Pink! at the 2019 BRITS
They recorded a version of the OutKast hit “Hey Ya!” with Razorlight (the B-side to their single “Vice”)
They recorded with Will Young on his debut album “From Now On”
They provided backing vocals on Erasure’s self-titled 1995 album
They featured on Nick Cave And The Bad Seeds 2005 double album “Abattoir Blues/The Lyre Of Orpheus”
They also performed on the songs “Don’t Get Lost in Heaven” and “Demon Days” on the Gorillaz’ “Demon Days” album
They have also recorded with
Paul McCartney, Elton John, Westlife, Elkie Brooks and Tori Amos amongst others

Blimey! Or should I say Hallelujah!

So the halting of the run of one week wonder No 1s didn’t last long did it? Britney Spears has been toppled after just fourteen days at the top of the charts by the 1999 Comic Relief single recorded that year by Boyzone. For the third time in a row we got a pretty straight run through of a song that wasn’t written with the intention of being funny nor that had extra comedic lines thrown into the mix by the performers over a well known hit. To break that down further, ever since its inception in 1986, the established choice was either a cover version played for laughs:

Cliff Richard and The Young Ones – “Living Doll”
Mel & Kim (Mel Smith & Kim Wilde) -“Rockin’ Around the Christmas Tree”
Bananarama & Lananeeneenoonoo – “Help!”
Mr. Bean & Smear Campaign feat. Bruce Dickinson – “(I Want to Be) Elected”

Or an original song written to be intentionally funny (I’m not sure the writers always succeeded):

Hale & Pace – “The Stonk”
Right Said Fred – “Stick It Out”
Pet Shop Boys – “Absolutely Fabulous”

Then came “Love Can Build A Bridge” by Cher, Neneh Cherry, Chrissie Hynde and Eric Clapton in 1995 which was a cover of an original song by country music duo The Judds. Two years later, no song was specifically written nor covered for the campaign but the Spice Girls agreed that all royalties for their double A-side single “Mama / “Who Do You Think You Are” would go to the charity. And then there was Boyzone who did a faithful version of Billy Ocean’s 1986 No 1 “When the Going Gets Tough” which I didn’t particularly like first time round so Ronan and the lads take on it was never going to win me over, charity record or not. Watching this back, I’m struck again by how little the guys who weren’t either Keating nor Stephen Gately actually did. In this one, they’re tasked with a bit of finger clicking and some shadow boxing to match the staging theme for the performance and that’s about it. That staging with the boxing backing dancers gives the whole thing a very 80s feel. I’m thinking of this perhaps..

P.S. A few people on line noted an unlikely link between “When the Going Gets Tough” and “We Like To Party! (The Vengabus)” by Vengaboys. Give up? They both have near identical opening lines – “I got something to tell you” in the former and “I’ve got something to tell ya” in the latter. Then in the third line they both share a similar theme – Ronan Keating sings “I’m gonna put this dream in motion” whilst whoever the Vengaboys ‘vocalist’ is gives us the line “Gonna put some wheels in motion”. Note to arresting officer – add plagiarism to the Vengaboys charge sheet for crimes against music.

As for Gail Porter, she did pretty well I think. All power to you Gail, a quite remarkable person. We’ll see plenty more of her (ahem) in future 1999 TOTP repeats.

Order of appearance	Artist	Tilte	Did I buy it?
1	Cher	Stong Enough	Nah
2	Vengaboys	We Like To Party! (The Vengabus)	Never
3	Skunk Anansie	Charlie Big Potato	No
4	Whitney Houston	It’s Not Right But It’s OK	I did not
5	E-17	Betcha Can’t Wait	Nope
6	Stereophonics	Just Looking	No but I had the album
7	Blur	Tender	See 6 above
8	Boyzone	When the Going Gets Tough	Not even for charity

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree.

https://www.bbc.co.uk/iplayer/episode/m002qlxz/top-of-the-pops-12031999

TOTP 05 MAR 1999

Posted on 8 Days Ago by 80stastic

Three days before this TOTP aired, the singer Dusty Springfield passed away aged just 59 from breast cancer. My Dad saw her folk-pop trio The Springfields back in the early 60s but I wasn’t really aware of Dusty until I started taking a real interest in pop music around 1983. By that point, her career was totally in reverse with no Top 10 hits since 1968 and just one minor Top 40 chart entry throughout the whole of the 70s. Her 60s glory days seemed a long time ago. An attempted comeback in 1985 with the single “Sometimes Like Butterflies” (which I’d quite enjoyed) failed to restore her fortunes despite an appearance on Wogan when it peaked at No 83. And then, just two years later, enter the Pet Shop Boys and a career resurrection via her part in their No 2 hit “What Have I Done To Deserve This” and a Top 20 album of her own in the silver disc achieving “Reputation”. She would release just one more studio album in her lifetime (the commercially overlooked “A Very Fine Love”) but her profile was maintained via a couple of Best Of collections with 1994’s “Goin’ Back” making the UK Top 5. Talking of going back, let’s revisit this TOTP episode from 1999 and see if there’s any sign of a connection to Dusty…

Jamie Theakston is our host (boo!) and we start with the No 2 record “Tender” by Blur. This appears to be just a repeat showing of the ‘exclusive’ performance from the other week prior to the single’s release and we get the whole 4:30 radio edit version which seems quite generous. Expectations were that it would go straight in at the top of the charts (I fully expected it to). After all there’d been a new No 1 every week for the first nine weeks of the year so far. And it was the band’s first new material for two years and it was something of an anthem. However, the power and pull of Britney Spears and “…Baby One More Time” would not be denied a second week at the summit and Blur had to be content with the runners up spot. Apparently it was a close (ish) run thing. The two singles had been neck and neck for most of the week but Britney would pull away over the weekend and would sell 55,000 more copies than Blur in the final reckoning. Still, “Tender” did outsell just about every other No 1 up to this point in the year and, perhaps more importantly, parent album “13” would spend two consecutive weeks at the top on its way to achieving platinum level sales in the UK.

Can I just say that Damon Albarn looks perhaps the coolest he ever did in this performance with his tousled hair, shades and Fred Perry shirt. Compare that with his look in the video for 1991’s breakthrough hit “There’s No Other Way”. Dearie me.

Dusty Springfield connection: The aforementioned Pet Shop Boys who resurrected Dusty’s career also did remixes of Blur’s 1994 hit “Girls & Boys”.

Next up is a singer who was a peer of Dusty Springfield and, rather incredibly, was still having hit singles in 1999. And not just hit singles but the biggest one in the UK in 1998. So how do you follow up such a success? Well, if you’re Cher, you just repeat the exact same formula. At least, that’s how I remembered it; that “Strong Enough” was just a carbon copy of “Believe” but listening to it now, it’s clear that rather it was more trying to be “I Will Survive Mk II”. I mean, it’s not a million miles away from being “Believe Mk II” either but “Strong Enough” had more of a disco feel to it with some definite 70s sonic stylings thrown into the mix and, of course, it had the same lyrical subject matter. Given the status of “I Will Survive” and Cher’s standing amongst the LGBTQ+ community and that “Believe” had brought her to a new audience within said community, it made perfect sense to release “Strong Enough” as the follow up single.

Watching this performance back, all the backing dancers positioned in straight lines behind Cher make it seem like a fitness video. Has Cher ever done a fitness video?

*checks internet*

Yes, she did two in the early 90s called “A New Attitude” and “Body Confidence”. Well, had she ever made a third then she could have used this routine in it. “Strong Enough” couldn’t hope to match the success of “Believe” but it was a Top Ten hit around the world and was a No 1 on the Billboard Dance Club Songs chart so not quite strong enough but not a 10 stone weakling either.

Dusty Springfield connection: Both emerged as significant female artists in the 1960s, both are celebrated as camp icons and both have recorded versions of “You Don’t Have To Say You Love Me” which was a UK No 1 hit for Dusty in 1966 and appeared on Cher’s album “Chér” also from 1966.

Another performance we’ve seen before next as we get The Corrs and the rereleased “Runaway” just seven days after it was last on the show and despite the fact they it had dropped from No 2 to No 6 this week. Except…hold on…this isn’t the same performance…is it? They’ve all got the same outfits on but Caroline, the drummer, is playing the piano in the first appearance and it’s a more acoustic version of the song and in the second show she’s back on the drums. What gives? I can only assume that they recorded two versions whilst they were in the studio that day. Why did they do that? To diversify the promotion of the single? Both the Tin Tin Out remix and the album version were on the 1999 CD single release so maybe they were trying to cover all bases of appeal? Maybe the BBC wanted to stockpile their archives? Who knows? Either way, it didn’t stop the single from descending the charts albeit at a steady rate.

Dusty Springfield connection: According to Sharon Corr, her parents listened to a lot of Dusty Springfield (along with Burt Bacharach and The Carpenters) which served as the soundtrack to her early childhood. Also, Dusty’s parents were both Irish just as the Corrs family are.

Jamie Theakston can’t help himself making a comment about The Corrs (“Runaway. That’s The Corrs. You wouldn’t really would you?”) before he does that thing all the presenters were doing around this time that was clearly a new innovation by executive producer Chris Cowey – walking into the backstage area and introducing the next act who were to be found on a TV screen not on stage. Well, I mean they were on a stage but not actually sharing the same physical space as the presenter if you see what I mean. I’m guessing that many of these performances were being recorded separately from the host’s time in the studio because of scheduling issues? Having said that, there is a studio audience present so there as a certain amount of joining the dots going on. In the old days, unless a video was being shown, it seemed like one big shot jumping from presenter to artist and then back to the host to introduce the next act. This had the feel of lots of clips needing to be edited together neatly so as not to see the seams hence these rather clunky backstage segues.

Anyway, enough of the technical stuff, back to the music – who were the next artist on? Well, it’s The Cardigans and their hit “Erase/Rewind”. Now I could have sworn that this follow up to “My Favourite Game” was released much closer to its predecessor but the time elapsed between the two was four months. Presumably their record label didn’t want it swallowed up in the mad dash that was the Christmas selling period. The other thing I could have sworn was that it was better than this. I mean, I shouldn’t be complaining about it when compared to the rest of the crud in the charts but it did disappoint slightly on re-listening to it. Just ever so slightly underwhelming. It certainly helped reactivate sales of parent album “Gran Turismo” propelling it into the Top 10 after spending the first four months of its chart life outside of the Top 20. This would pretty much be the peak of commercial success for The Cardigans, in the UK anyway*. One more Top 10 hit with Tom Jones doing a cover version of “Burning Down The House” by Talking Heads would follow later in 1999 and a No 31 hit in 2003 was it for chart singles action whilst their two albums released subsequently to “Gran Turismo” gained hardly any sales traction.

*In their home country of Sweden, the band continued to rack up No 1 albums and Top 10 singles.

Dusty Springfield connection: The band’s bassist Magnus Sveningsson participated in a tribute project to Dusty Springfield around 2007, where he played in a band for a live performance featuring songs like “If You Go Away”.

This post is all about female singers what with the Dusty Springfield theme, Cher and Britney Spears. Even two of the groups featured are fronted by women. Add to that list Whitney Houston who appears on the show two weeks on the run with “It’s Not Right But It’s OK”. With the single having entered the charts at No 3, I get why it’s featured but there were other new entries this week that could have been shown instead from Shawn Mullins, Kula Shaker, Sheryl Crow and…erm…Elton John and LeAnn Rimes…OK maybe not that last one!

Anyway, it’s Whitney who got the nod and perhaps rightly so if you read about the song’s legacy. It won a Grammy for Best Female R&B Vocal Performance and in 2019 it was certified platinum for sales of over a million copies in America. It regularly features highly in the various Best Of polls and just last year it was ranked the 45th Greatest LGBTQ Anthems of All Time with Billboard comparing it to…yes, Gloria Gaynor’s “I Will Survive” just as Cher’s “Strong Enough” was. Clearly the two were duking it out for the hearts of that particular community.

Dusty Springfield connection: Cissy Houston (Whitney’s mother) was a founding member of The Sweet Inspirations, a group that provided backing vocals for several of Dusty’s records, most notably on her acclaimed 1969 album “Dusty In Memphis” and her classic hit “Son Of a Preacher Man”.

With their last single “The Bartender And The Thief”, the Stereophonics took a significant step up the ladder of commercial popularity. No longer were they a band of minor to medium sized hits but a Top 5 artist. Follow up “Just Looking” would consolidate that position by being a No 4 chart hit. More than that though, it was a great advert for their sophomore album “Performance And Cocktails” which was released the Monday after this TOTP aired. It would go to No 1 and six times platinum in the UK. These boys really were big news. It remains their second biggest selling album after “Just Enough Education To Perform” I liked it enough for it to end up in my CD collection. “Just Looking” maybe wasn’t as rollickingly riotous as “The Bartender And The Thief” but it’s still a decent track worthy of repeated plays. However, I’d have to say I prefer “Just Lookin’” by The Charlatans as a song – that missing ‘g’ clearly making all the difference.

Dusty Springfield connection: Well this is tenuous in the extreme but…the Stereophonics only No 1 single is a track called “Dakota” and in January 2024, singer-songwriter Shelby Lynne performed a set dedicated to Dusty based on her 2008 tribute album “Just A Little Lovin’” at the Dakota Jazz Club in Minneapolis. Don’t like that? How about that Dusty once recorded the song “The Black Hills Of Dakota” from the film Calamity Jane? Oh suit yourselves!

Britney Spears is No 1 again with “…Baby One More Time” and has therefore achieved something that we were yet to see in 1999 – a record top the charts for more than seven days. Yes, it’s taken ten weeks but finally the constant conveyor belt of a different No 1 has ground to a halt. When you consider though that this was easily the best selling single of the year in the UK, could we have expected a longer ride in pole position? The timings within release schedules probably worked against Britney as in her third week in the chart she was up against that year’s Comic Relief single courtesy of the biggest boy band in the country at the time but even so. That chart conveyor belt would spring back into action though with another 14 No 1s spending a solitary week at the top meaning 22 out of 52 weeks of the year saw a different record at the top!

As for Britney, well I haven’t the time nor space to chronicle her career and personal struggles here but suffice to say she would have two more big UK hits before 1999 was out and followed that by starting the new millennium by topping our chart twice with consecutive singles. That’s two, not one more time.

Dusty Springfield connection: Dusty’s iconic hit “Son Of A Preacher Man” featured in the film Pulp Fiction and was included on its multi platinum selling soundtrack. In 2008, the film’s director Quentin Tarantino considered casting Britney Spears as the lead character Varla in a planned remake of the 1965 cult film Faster, Pussycat! Kill! Kill! The project never materialised though.

We’re still not done with The Great British Song Contest entrants in the BBC’s quest to find a contestant to be the UK’s representative at 1999’s Eurovision but fear not for this is the last of the four finalists. Jay were a band not a singer who was one Jamie Callis seen here fronting the song “You’ve Taken My Dreams” and what an affront to musical taste it is. Dull doesn’t quite cover it – how about ‘insipid’? ‘Soulless’? ‘Banal’? I’ll go for plain old shite I think. Callis was an unemployed karaoke singer at the time of his 15 minutes of fame – I should have just used those three words as my review of this one. Jay came fourth out of four when The Great British Song Contest airedtwo days after this TOTP was broadcast.

Dusty Springfield connection: Surely there’s nothing?! OK, how about Laurie Jay who was the drummer with The Echoes who served as Dusty’s primary backing band for her live performances and several studio recordings during the peak of her early solo career from late 1963 to1966. Jay was a dedicated fan and associate of Dusty, even attempting to organize tribute events in her memory such as a star plaque in Los Angeles and a show at The Albert Hall in 2012.

Order of appearance	Artist	Title	Did I buy it?
1	Blur	Tender	No but I had the album
2	Cher	Strong Enough	No
3	The Corrs	Runaway	Negative
4	The Cardigans	Erase/Rewind	Nope
5	Whitney Houston	It’s Not Right But It’s OK	Nah
6	Stereophonics	Just Looking	See 1 above
7	Britney Spears	…Baby One More Time	I did not
8	Jay	You’ve Taken My Dreams	And pissed all over them – NO!

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

https://www.bbc.co.uk/iplayer/episode/m002qlxx/top-of-the-pops-05031999

TOTP 26 FEB 1999

Posted on 11 Days Ago by 80stastic

It was remiss of me to not make reference in my last post to the mention host Kate Thornton made to the fact that the BRITS had just taken place that week back in 1999. I’ll make up for it now by having a look into what went down on the night. Well, not that much really by which I mean nothing explosively controversial compared to 1996 (the Jarvis Cocker / Michael Jackson incident), 1997 (Geri Halliwell’s Union Jack dress) and 1998 (Chumbawamba’s Danbert Nobacon pouring a jug of water over John Prescott). However, there were rumblings about one of the winners. Belle And Sebastian picked up the award for the Best British Breakthrough Act triumphing over the likes of Five, Steps, Billie Piper and Another Level. The award was sponsored by Radio 1 and voted for online by their listeners. The Glasgow indie pop outfit were surprise winners, so much of a surprise that a story ran in the papers the following weekend that the vote had been rigged with students of two specific universities encouraged by the band to vote for them. Steps impresario Pete Waterman was so incensed (presumably that his red hot charges had lost) that he called for an investigation but nothing came of the conspiracy story and Belle And Sebastian kept their award. Robbie Williams was the big winner on the night though with three awards whilst Natalie Imbruglia also took home two. I wonder if anybody on this TOTP also benefitted from the BRITS…

First up are The Corrs who were big winners at the BRITS picking up the Best International Group gong ahead of the likes of REM no less. Hoping to cash in on that award were their record label Atlantic with a new single and when I say new I actually mean old. “Runaway” was the group’s debut single in 1995 which missed the Top 40 by nine places when first released and was from their first album “Forgiven, Not Forgotten”. Having already completely plundered sophomore collection “Talk On Corners”, Atlantic turned their attention to that debut album and single. As with their No 3 hit “What Can I Do”, “Runaway” was given the Tin Tin Out remix treatment resulting in the group’s then biggest hit single as it debuted at No 2. Just to ensure they were adhering to the completely cynical record label image, they included it in a special edition version of “Talk On Corners”.

Having listened to both the original and the remixed version, I can’t hear that much difference between the two or maybe my ears just aren’t sufficiently highly tuned for that level of discernment? The group performed “Runaway” at the BRITS so it was always clear that the intention was to strike whilst they were hot (as it were) with a flurry of releases to kept their profile high and momentum going.

I should say that our host this week is Jayne Middlemiss who makes a comment about “your Dad’s and your brother’s blood pressure calming back down to normal” after watching The Corrs implying that they’d maybe got over-excited a tad. Now isn’t that putting filth into their minds Jayne and didn’t somebody else say a similar thing about The Corrs?*

*It’s not the inappropriateness of David Brent’s comments which are awful that makes this scene but actually Tim’s look to camera that gets me every time

Another rereleased single making it big second time around now as NSYNC make their UK bow. Well, they had visited our Top 40 once before 18 months prior but in the most fleeting of ways (one week at No 40) so I’m not counting that. When originally released, “I Want You Back” only made No 62 but it crashed straight into the Top 5 in 1999. Now, there two inescapable talking points that have to be mentioned when discussing NSYNC:

The comparisons to Backstreet Boys
Justin Timberlake

Let’s address them head-on then. Firstly, maybe if they hadn’t been from America, maybe if there hadn’t been five of them and maybe if, you know, they hadn’t sounded exactly the same as the Backstreet Boys, then maybe those comparisons wouldn’t have been made. Secondly, is it just me or has Justin Timberlake always had problem hair?

Their performance here is nauseating. They don’t so much dance as walk around a bit and then perform backflips. And did they really need shirts with the number 5 on them telling us there were indeed five of them perhaps or that they are at No 5 in the charts? If they’d been called, I don’t know, Five maybe then it might have been justified. Timberlake would of course go on to solo superstardom after starting out on Disney’s The All New Mickey Mouse Club show. Improbably, another ex-Mickey Mouser would do exactly the same and will be along in this same show a bit later…

Although she wasn’t a winner the next artist was nominated for a BRIT award in the category of International Female Solo Artist losing out on the night to Natalie Imbruglia. I think I might have been a tad surprised at the time that Lauryn Hill didn’t walk off with that particular gong based on the sales of her solo album “The Miseducation of Lauryn Hill” which we sold loads of in the record shop in the Our Price store in Altrincham where I was working – clearly she spoke to the white, middle class teenagers of that particular market town that lies within the historic country boundaries of Cheshire. Anyway, “Ex-Factor” (see what she did there?) was the second single from that album following “Doo Wop (That Thing)” which had been an American No 1 as was the album – Hill was the first female rapper in history to debut atop both charts. I couldn’t recall how “Ex-Factor” went and wasn’t particularly expecting to like it but I was pleasantly surprised as it’s a very melodic, soul ballad with enough edge to it to make it stand out. It would peak at No 4 in the UK charts.

Now, what’s the connection between Lauryn Hill and the last act NSYNC? Yes, it’s Justin Timberlake of course. According to Wikipedia, a stripped down rendition of the song was featured in a medley performed by his backing singers during his 2018 The Man In The Woods Tour. Just a word of congratulations to Jayne Middlemiss on her intro for his one (or to whoever wrote the script) – “It’s not Cypress, it’s not Dru, it’s not even Katy…it’s Lauryn Hill”. Nice work.

As much as Belle And Sebastian winning the British Breakthrough Act award was a bit of a surprise, if the next artist had even been nominated in the category it would have been a seismic shock. Lucid had clocked up one Top 10 hit with 1998’s “I Can’t Help Myself” but even allowing for that, them winning a BRIT gong was as likely as Robbie Williams not winning one. Still, their No 14 follow up hit “Crazy” did earn them a place on the TOTP running order and a chance to perform for the watching TV audience at home. I’m not sure how big said audience was at this point in the show’s history nor how many viewers the BRITS pulled in but those of us working in record shops still took note of who was on TOTP when it came to predicting singles sales and how much stock to order.

There’s not much info on Lucid online but what little I did find described them as being of an electronic /dance / trance persuasion which I guess I can hear although there does seem to be an almost heavy rock element to it as well which is further highlighted by the presence of real instruments in this performance. It also does sound very derivative and unoriginal at the same time. Not a very satisfying nor lucid definition really. They would have one more hit – a version of Judy Tzuke’s “Stay With Me Till Dawn” before Lucid made like a loose lid and fell off the music industry jar of hits.

“Now we’ve had loads of letters to see this next performance again” Jayne Middlemiss tells us in her next intro. Letters?! It’s easy for those of us of a certain age to forget and hard to imagine for the Generation Z-ers but we didn’t all used to have the internet and digital methods of communication available to us at our fingertips (or thumb tips maybe). Even so, I’m not convinced that loads of viewers were writing into the BBC begging for a particular TOTP performance to be shown again, even if said performance was by Lenny Kravitz who was “sex on legs” according to Jayne. In fairness, he does look pretty cool though not as cool as his drummer and her magnificent, towering Afro. As for featuring the clip again, chances are, as last week’s No 1, executive producer Chris Cowey would have shown “Fly Away” again anyway.

When it comes to Whitney Houston, a bit like Kylie, there’s lots of different versions of her depending upon which era of her career you’re talking about. There’s the smooth love song chanteuse of “Saving All My Love For You”, the perfect pop singer of “I Wanna Dance With Somebody”, the power balladeer of The Bodyguard but by the late 90s she had turned to R&B and hip-hop for the sound of her fourth studio album “My Love Is Your Love”. Given that she’d spent most of the 90s being a film star with her name also all over the associated soundtrack albums, was this an attempt to realign herself as a singer first and foremost by making an album that tapped into the dominant sound of the latter part of the decade? Maybe. Maybe not. Whitney had already strayed down that road with her last studio album completely under her own name, 1990’s “I’ll Be Your Baby Tonight” which had garnered mix reviews. “My Love Is Your Love” would be much better received and with the sales to back up its praise and yet its chart life started out in quite a minimal way. Released quietly (and perhaps unwisely) over the 1998 Christmas period, it didn’t really have a lead single to promote it. Yes, there had been that duet with Mariah Carey but that was from the soundtrack to the DreamWorks animated film The Prince Of Egypt and was seemingly just tacked onto “My Love Is Your Love”. As a result the album initially made only a minor splash in the UK charts, debuting at No 27 and then spending a couple of months hopping around the lower ends going as low as No 71. Then came what many saw as the first official single for the album – “It’s Not Right But It’s OK” which would provide Whitney with her highest charting single in the UK since “I Have Nothing” made the Top 3 six years earlier. And this is where the BRITS connection comes in as Whitney performed the track at the awards show to a rapturous reception. Ah, is that why it was released so much later than the album? So that she could promote with a headlining performance at a high profile, televised event? Maybe. Anyway, off the back of the single’s success, the album would ultimately go Top 5 and achieving three times platinum sales.

As for the song itself, it’s not really my thing/thang but I can appreciate that it’s a well executed R&B dance track with lyrics about defiantly telling an unfaithful lover to pack their bags. Given their tumultuous relationship many in the press speculated on whether it was about Whitney’s husband Bobby Brown. I’m pretty sure much more of a fuss would have been made about an in person appearance by Whitney Houston on the show back in the day but I guess things change quickly in the world of popular music and maybe her light wasn’t shining as brightly as it once had but the “My Love Is Your Love” album would see Whitney stake a claim as one of its biggest names again.

An absolutely iconic song next (yes it is, whether you like it or not) and a chart munching, sales crunching commercial juggernaut to boot. Once in a while, a single would come along that could never be anything but huge such was the buzz about it. I’m thinking “Killing Me Softly” by the Fugees, “MMMBop” by Hanson and “Don’t Speak” by No Doubt. That sort of thing. The buying department at the Our Price chain for whom I worked would send round a memo for these titles saying how the predicted sales of them were so massive that they’d had to order in extra quantities for every store to meet initial demand but also warning that we would have to monitor the single very closely for fear of selling out. “…Baby One More Time” by Britney Spears was definitely one that also needed watching closely.

Originally offered to the Backstreet Boys, TLC and Five (really?), they all turned down the opportunity to record the song leaving the path open for that other young star of Disney’s The All New Mickey Mouse Club show I referred to earlier to prove them all wrong by taking it to No 1 just about everywhere in the world. Why was it so successful? Well, it’s an extremely accessible pop song with hooks a plenty and some very convincing vocal styling from Spears for one so young. It’s also got that creeping backbeat that made it stand out from any other pop/dance tunes of the time. It also had that element of controversy with that chorus “Hit me baby one more” which label Jive were so concerned about that they changed the track’s original title to omit the first two words.

Then of course there’s that video which we get to see here and which is trailed by Britney doing a video message explaining that she can’t be in the TOTP studio because she’s hurt her knee. Apparently, a lot of the elements that made it so daring and controversial were down to Spears herself. She pitched the concept of the school setting to video director Nigel Dick after rejecting his original space themed idea and it was also Britney who had the idea of the knotted shirt look that sparked so much outrage. I once attended a guitar class and one of the songs we were learning was “..Baby One More Time”. Our teacher asked us to listen to the track before the next lesson to which one of my fellow students said “Well, the blokes here can’t watch the video, we’re not allowed” meaning that he believed that society had decreed that any man watching the video would be judged and not in a good way. Living in the times that we currently do, I can’t decide whether it would still be considered that way or not. Would it be seen as small fry in an Epstein files world or is it part of the problem? I don’t really want to pursue that line of enquiry any further than that. What I will say is that it’s a very impactful video which earned three nominations in the MTV Video Music Awards. Although, she didn’t feature in the 1999 BRITS, the following year she was nominated in the categories of Best International Female Solo Artist and Best International Breakthrough losing in both categories to Macy Gray. As for “…One More Time”, it would sell 463,000 copies in its first week of release easily dwarfing the commercial performance of any other No 1 single of 1999 so far. The bods in that buying department at Our Price knew what they were talking about.

We still haven’t yet finished with this Great British Song Contest malarkey to find the UK entrant for Eurovision so here’s the third of the four finalists Alberta with a song called “So Strange”. This one at least try to do something different from the safe pop/soul song template delivered by eventual winners Precious by offering us a reggae-lite tune. It puts me in mind of the 1985 hit “Girlie Girlie” by Sophia George which is no bad thing. I also quite like the way the songwriters tried to cover all cases by having part of the track sung in French. Cynical? Maybe but again at least they were trying to do something different. Alberta would come second to Precious which Wikipedia informs me was the second time she failed to be the UK Eurovision entry at the final hurdle having come second in 1998. Oh well. As Johnny Logan once sang, “What’s Another Year”.

Order of appearance	Artist	Title	Did I buy it?
1	The Corrs	Runaway	Negative
2	NSYNC	I Want You Back	Never
3	Lauryn Hill	Ex-Fator	Didn’t happen
4	Lucid	Crazy	Nope
5	Lenny Kravitz	Fly Away	No
6	Whitney Houston	It’s Not Right But It’s OK	Nah
7	Britney Spears	…Baby One More Time	I did not
8	Alberta	So Strange	And no

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

https://www.bbc.co.uk/iplayer/episode/m002q94h/top-of-the-pops-26021999

TOTP 19 FEB 1999

Posted on 14 Days Ago by 80stastic

After the deluge of boy bands in the early 90s and then the gender switch to all girl groups in the mid to later years, suddenly, right in the death throes of the decade, another movement emerged which infiltrated both sexes – boy bands and girl groups who could play their own instruments! We get to see two examples from the first category on this particular TOTP and in many ways it was a blueprint/warning (delete as appropriate) for what was to come in the new millennium with the likes of Busted and McFly but we’ll get to all that later.

Kate Thornton is our host tonight and we start with last week’s No 1 – “Maria” by Blondie. In the first eight charts of 1999, we had eight different No 1s. This was a time when record company first week discounting and the record buying public’s awareness of the practice met dead on causing huge sales for new releases in their first seven days in the shops. The impact of this was displayed in this weekly changing of the guard at the very top of the charts. In my view, it did undermine the integrity of the charts and it also made reordering of new singles in that first week of release very tricky for those of us working in record shops at the time. Punters were wise to the fact that the CD single was only £1.99 for the first seven days and would rise to £3.99 when it entered the chart the following week and so unnatural buying patterns were created. The trick was to never sell out during the discounted period but not have loads of stock left over when its price rose. It wasn’t always that easy to pull off.

Anyway, Blondie had secured a No 1 with “Maria” before falling to No 2 and this meant that they’d had chart toppers in the 70s, 80s, and 90s. Not a unique feat but impressive all the same. Debbie Harry was 53 at this point. Twenty-seven later and she is still performing live and recording with her band in 2026 aged 80! A new album called “High Noon” is scheduled for release later this year.

So to this new movement of boy bands (and girl groups) who played their own instruments…I say ‘new’ but perhaps the first example and OGs of the genre came two years before with the emergence of Hanson. The three brothers were only 11, 14 and 16 years old when they hit with the irresistibly catchy “MMMBop” and yet they actually played on the record (at least that’s what their publicity machine told us anyway). In the wake of that success, it seemed that every pop music record label was on the look out for the next Hanson and in Next Of Kin, Universal thought they’d found the UK version. This lot really were following the Hanson blueprint – three brothers who were aged 13 to 18 who played guitar, bass and drums who had a hit that was half pop song, half ear-worm. Hell, they even had the Hanson floppy hair down to a tee!

Their backstory was that they were spotted by the manager of the Musical Exchanges music shop in Birmingham who put them directly in touch with Universal who signed them immediately and whisked them off on the Smash Hits tour and then as support act for Boyzone. It can’t have been that easy can it? Their debut single was “24 Hours From You” and it was ridiculously similar to “MMMBop”. The vocals in it were almost exactly the same. Its peak of No 13 was a reasonable start to their pop career but when follow up “More Love” peaked 20 places lower, the game was up before it had even started.

An attempt at gatecrashing the pop world again was made in 2013 when they successfully auditioned for the tenth series of the X Factor but they were rejected at the Bootcamp stage. Wikipedia tells me that they are still together but have renamed themselves as Essex County (they’re from Braintree) and changed their sound to alternative country. We’ll see another instrument playing boy band later in the show but not to be outdone, the girls would show their hand later in 1999 with the likes of Hepburn and Thunderbugs seeing chart action.

“Time now for something a tad more dangerous” says Kate Thornton in her intro to the next act. Who could she mean and was she right? Well, I guess compared to Next Of Kin then Unkle featuring Ian Brown could at least be considered as unsafe; after all, Brown had not long been released from Strangeways prison for a two month stretch for that air rage incident.

As for Unkle, all my hip colleagues at Our Price would have been into them and DJ Shadow who was a member of the electronic outfit at one point and gets his own mention in Thornton’s intro here (although as far as I can tell he was not officially credited on the single) and, in fact, anything released on their Mo’Wax label. Guess what though (and this will come as no surprise!)? I don’t like “Be There” at all. Not one little bit. Slow and lumbering, Brown’s deadpan, monotone, low register vocals didn’t help to raise my interest levels either. Maybe if I’d been achingly hip like some of my colleagues I’d have loved it but the truth is I’ve never been even half way hip. The other truth is that I don’t actually remember it. What the Hell was I doing all day in the record shop? Certainly not listening to any music it seems. Surely, given I was living in Manchester at the time, I should have recall of a hit featuring one of the city’s more famous sons? Bah. I might as well have been selling tins of baked beans! Anyway, I’m going to own my pop sensibilities and stand up proudly for them by stating that if I want to listen to a song called “Be There”, then this is what I would choose…

It’s that second example of an instrument playing boy band now as we are introduced to Canadian group The Moffats. This lot were four brothers (why were all these bands siblings?) but making them stand out was the fact that three of them were triplets with two of them identical twins. Unlike Next Of Kin, I do remember this lot mainly because there were two school girls who used to come into the Our Price where I worked in Altrincham who were crazy about them. I remember once I was late for work due to my bus not turning up and as I was in charge that day with the keys to the shop, we opened up late. Not my fault, it happens. However, it happened to be on the Monday The Moffats were releasing a single and these two girls wanted to be the first to get their hands on it. I think they’d cut school to come and buy it and so were waiting outside, giving me down the banks for not opening up on time as per our advertised hours. It was at this point that I developed a string dislike for The Moffats!

Anyway, “Crazy” was their first and biggest of two UK Top 40 hits peaking at No 16 (those sales to those two schoolgirls must have really helped!) and it’s a slightly more robust sound than Next Of Kin (it would have been hard not to be in fairness) but it was hardly offering anything new nor original. Banal lyrics and a ‘woah woah’ chorus and generic title. In fact, they didn’t seem blessed with creativity when it came to song titles. They also released singles called “Miss You Like Crazy”, “Girl Of My Dreams” and “I’ll Be There For You” (at least two of which have been also been the titles of big hits for other artists. Then there’s their image. Just like Next Of Kin, the lead singer and drummer have both copied the Hanson, slacker dude, long hairstyle whilst the two identical twins have rather sensibly gone for a shorter crop. What was it about these guys that those two school girls just couldn’t resist?! Despite Kate Thornton’s claim that we would all be screaming for them soon, The Moffats didn’t amount too much and although they are still together, haven’t released an album in over 25 years. I have no info on whether they liked to eat curds and whey nor whether they were scared of spiders.

Staying with Canadian bands, here’s Barenaked Ladies and their hit “One Week”. Having been in existence for over a decade and having already released three major label studio albums by this point, I’m willing to bet that most of us didn’t actually know much about this lot and their brand of alternative pop or ‘geek rock’ as some of the press labeled their sound. I know I didn’t. Sure, being employed in a record shop I might have come across their name but when it came to actually listening to them…well, as I’ve already established, I clearly wasn’t doing a lot of listening to any music much whilst at work.

Suddenly though, this mad track full of skittering energy and sounding like it had too many words to fit into its structure was everywhere. How had this happened to a band which if not a cult, were definitely on the fringes of the mainstream? Well, the band had promoted “One Week” hard in America by playing a series of radio station concerts which had resulted in massive airplay and, perhaps against all odds, a US Billboard Hot 100 chart topper!* No doubt that achievement would have meant a full on marketing drive on its UK release and sure enough, it debuted at No 5 over here.

*Rather poetically it would spend just one week at the top.

So that’s how it became a massive hit but what about the ‘why?’. OK so, firstly it has a killer chorus that could have been jarring against the overly verbose verses but actually works perfectly as a way of resolving all that wordplay. Ah yes, those words. Why were they full of pop culture references and whatever did it all mean? According to the band’s Ed Robertson, he’d worked out the track’s chorus but hadn’t a clue what to do about the verses until fellow band member Steven Page told him to just “Freestyle it”. And so Robertson did which means, I guess, that it was all made up nonsense with no meaning at all? Sometimes things just work though and it all hung together in a madcap display of improvisation. You do have to acknowledge the blending of the lyrics. My favourite rhyming couplet is this I think:

“Like Harrison Ford I’m getting frantic
Like Sting I’m tantric”

Source: Musixmatch
Songwriters: Ed Robertson
One Week lyrics © Wb Music Corp., Treat Baker Music Inc.

However, there’s loads more to admire. For example, name checking Japanese filmmaker Akira Kurosawa, German orchestra leader and easy listening legend Bert Kaempfert and American teenage singer LeAnn Rimes in the same song takes a special kind of imagination. Sadly, the live vocals in this TOTP performance don’t quite do it justice.

The final reason for its success? Well, the UK charts have always been accommodating of a single that not a novelty but a bit out there. Off the top of my head there’s “Mmm Mmm Mmm Mmm” by Crash Test Dummies, “Camouflage” by Stan Ridgeway, “O Superman” by Laurie Anderson and later on in these 1999 repeats we’ll be hearing Baz Luhrmann’s “Everybody’s Free (To Wear Sunscreen)”. “One Week” could find a place quite comfortably in such a list. Barenaked Ladies would manage one more minor UK chart entry but are still together recording new material with their last album being 2023’s “In Flight”.

An exclusive preview of a massive song next. Literally epic. Or just overly long depending on whether you like it or not I guess. Having emerged bruised from 1995’s Battle of Britpop, Blur regrouped and came back with a platinum selling No 1 album and two of their most iconic singles in “Beetlebum” and “Song 2”. In the meantime, it was their nemesis Oasis who had suffered the brickbats and barbed criticisms of their third album “Be Here Now” and promptly disappeared for the rest of the decade. The field, therefore, was clear for Blur to unleash their sixth studio album without the omnipresence of the Gallaghers and the comparisons that had tripped them up in the past. The lead single was “Tender”, a 7:40 long lament to Damon Albarn’s broken relationship with girlfriend Justine Frischmann of Elastica. With its hopeful refrain of “Come on, come on, come on, get through it” and a gospel choir backing, it gave off heavyweight vibes literally on first hearing. And yet, it also had that lo-fi guitar opening – it was a masterclass in how to slowly build a song. I was convinced it would be the band’s third No 1 single and it would have been but for the commercial wrecking ball that was Britney Spears’ “…Baby One More Time”. Despite having to settle for No 2, its first week sales of 176,000 copies was more than many actual No 1 singles that year. Whatever its numbers said, it was a demonstrably braver and more interesting direction than the one taken by Oasis as the end of the 90s came into view.

Just as we started the show with an act that had just secured an unexpected No 1 single seemingly out of the blue in Blondie and “Maria”, this week’s chart topper was also a surprise – well, it blindsided me anyway. My first engagement with Lenny Kravitz came courtesy of his 1991 album “Mama Said” (I’d been blissfully unaware of his debut collection “Let Love Rule”) during my early days of working for Our Price. I’d really enjoyed that album with tracks like “Fields Of Joy”, “Stand By My Woman” and hit single “It Ain’t Over ‘Til It’s Over” all impressing me. I couldn’t really get into his next album “Are You Gonna Go My Way” mostly because I wasn’t that taken by its hit single title track and after that I completely lost sight of him. Then, in 1999, he was back and how. “Fly Away” was the third single from his fifth studio album “5” and, despite the first two singles taken from it failing to pierce the UK Top 40, it soared straight to the top of the charts in week one of its release. How had this happened? It’s not that big a mystery really – behold the everlasting power of a song being used to soundtrack a TV advert:

Yes, a car advert for the Peugeot 206 was enough to give Lenny his first and only UK No 1. Obviously it wasn’t the first time we’d seen this phenomenon in action but it sure was effective. A last minute addition to the album, Kravitz had originally thought “Fly Away” could maybe have been used as a B-side but its inclusion on that advert changed its destiny. Apart from one minor entry in 2004 with a song from the Bad Boys II soundtrack, “Fly Away” would be Lenny’s final UK chart hit.

We’re still going with this Great British Song Contest malarkey and this week it’s the turn of a duo called Sister Sway and a track called “Until You Saved My Life”. They finished third in the final (out of four) and apparently they were sisters. Here, they give an energetic performance of their very uptempo, high bpm song that was clearly trying to sound a bit like Steps. It’s very repetitive and ground my gears after not too long to the point where I couldn’t wait for it to stop. Never mind saving my life, it nearly killed my ears.

Order of appearance	Artist	Title	Did I buy it?
1	Blondie	Maria	Negative
2	Next Of Kin	24 Hours From You	Nope
3	Unkle featuring Ian Brown	Be There	No
4	The Moffats	Crazy	I did not
5	Barenaked Ladies	One Week	YES!
6	Blur	Tender	No but I had the album
7	Lenny Kravitz	Fly Away	Nah
8	Sister Sway	Until You Saved My Life	Never

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

https://www.bbc.co.uk/iplayer/episode/m002q94f/top-of-the-pops-19021999

TOTP 12 FEB 1999

Posted on 16 Days Ago by 80stastic

With a couple of exceptions, the running order for this show looks uninspiring at best. Bloody awful would be another way of putting it. There’s no relief to be found in the presenter either as it’s Jamie Theakston. Again. Oh well, I guess I’ll just have to get on with it.

We kick off with…ooh…a bit of a milestone actually. This is the final hit (and therefore last TOTP appearance also) for M People. Eight years and nineteen singles on from their chart debut, it was the end of the road for Mike Pickering and his band of merry men (and woman). They exited in a considered and appropriate manner with a Best Of album and tour and a decent sized hit in “Dreaming”. Except it wasn’t really the end – the end of their run of chart hits certainly but the end of the band? Not quite. They went on hiatus as the new millennium dawned rather than split. However, it seemed to go on longer than expected due to Heather Small’s successful solo career. Then, in 2005 with a new Best Of collection out, they convened once more to do a small tour in support of it. More live dates followed in 2007 before another long break meant they weren’t seen again until 2012/13 when they toured to commemorate 20 years since the release of their Mercury Prize winning album “Elegant Slumming” though Pickering did not take part.

Back in 1999 though, here they were with yet another mid-paced, soul/pop tune that was pleasant but hardly captivating. In fact, whisper it, but I think their formula and sound was starting to get a little bit dull and repetitive by this point. Dare I say, they were all starting to sound the same? Maybe the band felt the same way as well and that was a factor in their decision to step back at that point. Anyway, thanks for everything Mike, Heather, Shovell and…erm…the other one.

What was it with the 90s and hits based on pieces of classical music? Look at this lot:

The Farm – “All Together Now” – Pachelbel’s Canon
Coolio – “C U When U Get There” – Pachelbel’s Canon
Sweetbox – “Everything’s Gonna Be Alright” – Bach’s “Air On The G String”
Take That – “Never Forget” –
Verdi’s “Tuba mirum” from the Requiem Mass
Puff Daddy – “I’ll Be Missing You” -Barber’s “Agnus Dei”

And that’s by no means an exhaustive list! Another one that could be added to it came courtesy of someone called A+. This guy is an American rapper (real name Andre Levins) and he was only 16 years old when this TOTP aired! He must be the oldest looking 16 year old ever! What does he look like now that he’s 44?! Talk about a tough paper round! Anyway, back in 1999, he brought us “Enjoy Yourself” which samples the 1976 Walter Murphy song “A Fifth Of Beethoven” which itself was adapted from the first movement of Beethoven’s Symphony No 5. Theakston seems unaware of the Walter Murphy track despite its presence on one of the best-selling soundtrack albums of all time with sales figures of over 40 million copies – Saturday Night Fever. Yes, although not a Bee Gees song, it was yet another example of source material taken from that film which had supplied so many hits around this period. Interestingly, “A Fifth Of Beethoven” wasn’t the only classical based track on the soundtrack – there was also “Night on Disco Mountain” which was essentially a disco reworking of Mussorgsky’s “Night On Bald Mountain”.

Anyway, enough about its classical origins, was “Enjoy Yourself” any good? Erm…well, it wasn’t terrible and it made good use of those dramatic strings with its coda especially enhanced by the final flourish. Having said all of that, I was never going to buy it. A+ stepped away from the music industry after just two albums in as many years at the end of the 90s citing family reasons and a desire to concentrate on raising his son. He has yet to return to the rap universe.

After a hit based on retro track called “A Fifth Of Beethoven” based on Beethoven’s Symphony No 5 comes another numerical leaning number – “Six” by Mansun from their “Eleven EP”. All these numbers were too much for the mathematically challenged Theakston who says in his intro that they’re driving him mad. Himbo. Anyway, I really liked Mansun’s debut album “Attack Of The Grey Lantern” but I very quickly lost sight of them after that. Why? I think it was that follow up album (also called “Six”) saw the band try out a more experimental sound with a collective commitment to coming up with a new guitar sound for every new riff. Lead singer Paul Draper would later describe the album as “commercial suicide”. Yeah, that’ll be why I lost interest. And yet, the track “Six” sounds like it could have been on “Attack Of The Grey Lantern”. There a reason for this – it was a left over from the sessions from that debut album when it was known as “More”. It’s a good track – atmospheric, slowly building but resoundingly engaging, mysterious but melodic. Maybe they should have led with that as the lead single from the album? Mansun would continue into the 2000s with the No 12 album “Little Kix” and a Top 10 hit “I Can Only Disappoint U” but by 2004’s “Kleptomania” and its chart peak of No 135 (!) the end of Mansun was nigh. Numerous retrospective releases have shown that the band are bothered about their legacy which was also the name of their 2006 Best Of album.

After one of the two exceptions I referred to in my opening to this post, were bank to the crud with..,who? Mirrorball? I’ve nothing down for this at all. Their track- “Given Up” – is based around the 1978 hit “Givin’ Up, Givin’ In” by The Three Degrees but that shouldn’t distract us from the real story to this one which is what the hell is going on in this performance?! Clearly the TOTP production team didn’t know what to do with it as it’s a very repetitive, beat driven dance track which might have been celebrated in a club setting but which doesn’t lend itself to a three minute performance on the BBC’s premier pop music show. The answer? Distract the viewer with some visual effects and some rather creepy stage setting. All the juddery, time lapse camera shots did for me was make me think that there was something wrong with my WiFi connection and that it was buffering although I accept that couldn’t have been any kind of issue when the show was originally broadcast in 1999. It still looks crap though. Then there’s the two blokes sat on a sofa to the side ogling the three performers on stage. It gives off a lap dance club vibe (I’m imagining!) especially when said performers start removing their top garments. The lead singer even goes and sits with them at the end of the song. It’s all very unsettling. Let’s move on…

Really? Another here today gone tomorrow dance track from some anonymous producer, fronted by a female singer under an artist name that meant nothing?! After Mirrorball, here’s Soulsearcher with a hit called “Can’t Get Enough”. Ok, it did spend four weeks inside the Top 40 (albeit descending the charts every time) so not quite the here today gone tomorrow hit I suggested but you get my drift. And yes, the vocalist here was Thea Austin who was the voice on and co-writer of Snap!’s “Rhythm Is A Dancer” so not completely anonymous either but let’s be fair, how many people remember this without any prompting? Not many I’m willing to wager as it’s a fairly underwhelming track which, also just like Mirrorball, has sampled a 70s dance tune, in this case the 1979 disco hit “Let’s Lovedance Tonight” by Gary’s Gang (which were nothing to do with Gary Glitter I should immediately point out). Why were the charts full of this sort of stuff around this time? Was it just bandwagon jumping? Was it the penetration of club culture into the mainstream? If this show is typical of how these 1999 TOTP repeats are going to play out, this might be the worst year of the whole decade.

My mood is not improving with the next hit which is “Boy You Knock Me Out” by Tatyana Ali. This was the sitcom star turned singer who was benefitting from an endorsement by Will Smith whom she starred with as Ashley Banks in The Fresh Prince Of Bel Air. Indeed, Smith provides a video intro here for her performance and yes, almost inevitably, he turns up halfway through the track with a rap that he again delivers via video. It always just struck me as just too comfy and easy a relationship as if all Ali had to do was ask Smith and he would grant her the pop star career she wished for – essentially he was acting out his role as the genie in Aladdin 20 years before the film was released. As for the track itself, it was yet another song that used a sample and an interpolation in its structure (Kool And The Gang and Bobby Caldwell respectively) – wasn’t anyone writing original material back then?

Just like A+ earlier, Ali failed to progress beyond the 90s as a solo female singer releasing just one album under her own name though she has occasionally made available the odd recording down the years. She is currently a children’s author and is also involved in mentoring and advocacy working with various organisations focused on maternal, reproductive, and public health.

It’s the second of those exceptions to the dreary running order now and what a surprise it was! Eighteen years and two months since their last UK No 1, Blondie were back at the top of the charts! This was the then third longest gap between No 1s in chart history but those top two were achieved with rereleases of old hits by The Hollies and The Righteous Brothers not a brand new song. This was quite the achievement. Indeed, apart from a few remixes from their back catalogue, this was Blondie’s first visit to the UK Top 40 since their minor hit “Warchild” in 1982 which made No 39. In their pomp between 1978 and 1980 though, they’d had five No 1s over here – they were a phenomenon. Drug use issues, a resentment of power couple Debbie Harry/ Chris Stein by the other band members and a tail off in commercial fortunes had caused the group to split. In the intervening years, Harry had cared for Stein who had been diagnosed with a rare autoimmune disease of the skin and pursued a fitful solo career that seemed to have more troughs than peaks. Come 1997, with Stein’s health more stable, he and Harry sought to put the band together with original members Clem Burke, Jimmy Destri and Gary Valentine (Nigel Harrison and Frank Infante from the classic line up did not ultimately feature in the reunion). This was no nostalgia trip though – the plan was to record an album of new material which they did in “No Exit” which was trailed by the single “Maria”.

This was a good, solid, proper rock/pop record with a retro feel that stood head and shoulders above the rest of the chart pap. I mean, it wasn’t a “Heart Of Glass” or an “Atomic” but it was pretty good. Written by Destri recalling his Catholic school days, it was straightforward and uncomplicated but catchy as hell with hooks a plenty like that descending chime sequence and bouncing bass riffs. The album sold well enough going to No 3 over here and achieving gold sales status though subsequent singles released from it failed to have anywhere near the success of “Maria”, one of the most unexpected chart comebacks of the decade let alone 1999.

Despite having played this week’s No 1, the show isn’t over as TOTP was dragged into promoting this year’s selection process for the UK’s Eurovision Song Contest entry. Having already narrowed the hopefuls down from eight to four via a semi final stage played out on the Radio 2 shows Wake Up To Wogan and The Ken Bruce Show, it was the job of TOTP to feature one of the four finalists every week for a month leading up to the televised final of The Great British Song Contest on the 7th of March with the viewing public voting for its favourite. In a very tight competition with only just over 1000 votes separating the Top 3 acts, Precious were crowned the winners with their song “Say It Again”. Yes, the first act to be showcased on TOTP would be our entry which means we’ll have three further BBC repeats featuring artists who were doomed to fail and be consigned to the rubbish bin of pop history. This could be excruciating. As for Precious, the five piece all girl band had a pre-Atomic Kitten Jenny Frost in their ranks and a song that was pleasant but predictable sounding like anything Eternal, Honeyz or Solid HarmoniE might have released. How did they get on at Eurovision? Ah well, we’ll get to that in time.

Order of appearance	Artist	Title	Did I buy it?
1	M People	Dreaming	No
2	A+	Enjoy Yourself	Not for me
3	Mansun	Six	Negative
4	Mirrorball	Given Up	I did not
5	Soulsearcher	Can’t Get Enough	Nope
6	Tatyana Ali	Boy You Knock Me Out	Nah
7	Blondie	Maria	Good tune but no
8	Precious	Say It Again	And no

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree.

TOTP 05 FEB 1999

Posted on 20 Days Ago by 80stastic

It’s early February 1999 and England football manager Glenn Hoddle has just been sacked by the Football Association for comments he made in an interview with The Times newspaper in which he suggested that people born with disabilities were paying for sins in a previous life. A BBC survey conducted during the fall out from the interview found that 90% of those asked thought Hoddle should not remain as the national team manager. Glenn defended himself by saying his words had been taken out of context and by highlighting his work for disabled charities but his fate was sealed. Some though saw it as an overreaction and that his sacking was driven by other agendas involving a lacklustre World Cup performance, poor recent results and rumours of player discontent. Kevin Keegan would be appointed as Hoddle’s successor within a fortnight though. It was big news but can I link it into this particular TOTP? Let’s find out…

Jamie Theakston is our host and we start with…no…it can’t be…not again. It is you know. Bryan Adams and Melanie C are back once more with “When You’re Gone”. Right, if I’m going to be annoyed I’m going to get my facts straight first…

*checks the TOP Of The Pops Archive website*

FIVE TIMES! Five times this has been on! I know that it had some long chart legs but seriously?! Starting the 5th February ‘99 show with a hit that was first featured on the 11th December ‘98 episode?! And no I don’t care that it had gone up from No 7 to No 5 for its highest position since debuting at No 3. And three of those appearances were repeats of the two original performances. We never even got to see the music video though having checked it out – Bry and Mel wandering around a house but constantly missing the other one because they’ve, you know, gone – that might not be a bad thing. Bry’s guy-liner look is giving me heavy JD Vance vibes and that’s terrifying frankly.

Glenn Hoddle link: “When You’re Gone”? Being sacked? That’s an easy starter for 10.

I’m really not liking this backstage area schtick especially when it’s used by Jamie Theakston to make some creepy comments about “making some new friends“ whilst leering at this week’s No 1’s backing dancers. Anyway, next up are Garbage with their single “When I Grow Up”. The fourth single from their “Version 2.0” album, it’s a much more upbeat sound than some of their other work with its “ba ba ba ba” chorus, and almost pop song like sensibilities. Having said that, its lyrics were as dark as ever – how many ‘pop’ songs contain the phrase “golden shower” for example? Incidentally, that was something the band were very proud of, sneaking said idiom into a track being played on daytime radio. According to Shirley Manson, the song is about whether adulthood brings maturity and with lines like “cut my tongue out”, “unprotected, God I’m pregnant” and “I go mental”, I think Garbage achieved their stated aim of creating a track with a dark lyrical subject matter set against a pop melody. “When I Grow Up” peaked at No 9 just as two of the previous three singles released from the album had which wasn’t quite up there with Paul Young’s “Everything Must Change” spending five consecutive weeks at No 9 but it must have been some sort of record.

Glenn Hoddle link: This is very tenuous. Shirley Manson used to be in Scottish rock band Goodbye Mr Mackenzie. Hoddle won the FA Cup in 1981 with Spurs who defeated Manchester City 3-2 in a replay. The scorer of City’s first goal in that match? Steve MacKenzie

After trying his hand at doing a segue using rhyming couplets (it’s not big nor clever Jamie), Theakston introduces “Good Life (Buena Vida)” by Inner City. Wait…what? I don’t remember this. I mean, obviously I remember Inner City and their No 4 hit “Good Life” from 1988 but this flamenco style re-recording of it? Nope, I got nothing. Having listened to it though, I think I prefer it to the original which was never my cup of tea. And I mean ‘prefer’ not ‘like’ as even this reimagining of a Detroit house hit (with added español lyrics) was never going to be my taza de Spanish Brew. Or something.

So why did this version exist? Well, it wasn’t part of some campaign to promote a Best Of album – in fact, it wasn’t linked to any type of album, studio or compilation. However, there had been a white label copy of the new version kicking around the clubs for a year and the attention it attracted finally warranted an official release and when that happened, it turned out that the person behind it was Kevin Saunderson of, yep, Inner City. So what, he was just bored and so revisited his back catalogue for something to do? Who knows but it gave Kevin and his band their first Top 10 hit since 1989. Anyway, if you can be bothered, here’s the link to what I wrote about the original version from 1988:

TOTP 08 DEC 1988

Glenn Hoddle link: In an interview with The Big Issue magazine, Labour politician and Spurs fan David Lammy said this:

“Football was quite important to me growing up. It was the era of Spurs winning the FA Cup in ’81 with Ossie Ardiles and Glenn Hoddle. Spurs were huge and in a way, because we were growing up in the inner city and there were riots, the fact that we had such a great football team meant the world to us, it was something really positive.“

Jane Graham, 17 May 2020, Big Issue #1406

Hoddle and ‘inner city’ both mentioned there. Ahem.

Another hit whose chorus goes “Ba Ba Ba Ba Ba Ba Ba Ba”! Unlike Garbage’s “When I Grow Up” earlier though, “National Express” by The Divine Comedy wasn’t quite as dark lyrically though it did receive criticism in some of the music press for allegedly taking a swipe at the working classes, an allegation singer songwriter Neil Hannon denied. For him, he was literally recounting some of the sights he saw whilst travelling on a coach. However you perceived its words, “National Express” sure was catchy which might explain why it became the band’s first (and so far only) Top 10 hit. What I’ve always liked about Hannon’s lyrics is that he annunciates them so well – you can actually hear and understand what he’s giving vocal expression to which is a crucial part of the storytelling within them. Yes, some took offence at the line about the “jolly hostess” having an arse the “size of a small country” (including my wife) but at least you were engaged by the words however you perceived and received them. Later in 1999, a Greatest Hits album called “A Secret History… The Best of the Divine Comedy” would take them into the Top 3 and provide a gold disc to boot. It would also give us one of the most preposterous and yet glorious song titles of all time in “The Pop Singer’s Fear of the Pollen Count”. Ah you’ve got to love The Divine Comedy!

Glenn Hoddle link: A born-again Christian since 1986, Hoddle famously employed faith healer Eileen Drewery whilst England manager for which he was lampooned in the press. A divine comedy you might say.

Who??!! Leilani?! Wasn’t she a glamour model? Well, yes and no. There is a former glamour model called Leilani Dowding who is actually engaged to Billy Duffy, guitarist for The Cult but she isn’t this Leilani. No, this Leilani is Leilani Sen, a singer signed to ZTT from 1998 to 2000 and whom had a small hit with “Madness Thing” during that time. And what a slight, little thing it was. An inconsequential ditty about…what? Boyfriends who are too tall, boobies that are too small and eating Curly Wurlys according to the lyrics. No, really; that’s what she sings. I can’t believe she was on the same record label as Frankie Goes To Hollywood, Art Of Noise and Propaganda. Anyway, she didn’t last long – just one more No 40 hit and an unreleased album. However, she returned in 2023 as a contestant on reality series Survivor and with a single (presumably released off the back of her appearance on it) called “Wicked Knickers”. Hmm. Bizarrely, another similar looking female pop star flogging similarly cheesy pop songs would appear later in 1999 – it was as if Leilani was a prototype Lolly. As far as I can recall, Lolly never had a fleet of ironing boards on stage with her though. A thing of madness indeed.

Glenn Hoddle link: Hoddle probably did hate the madness of it all when it came to that interview in The Times.

A slushy R&B ballad next from Dru Hill who, let’s be honest, I know very little about and have even less interest in. I can’t help it – I grew up as a pop kid. For what it’s worth, they sound to me like they know what they were about with “These Are The Times” featuring some on point harmonies that Boyz II Men would willingly take to the end of the road. Why does Sisqó have a big, silver dragon motif on his microphone when none of the other members of the group do? Well, later in 1999, he would leave Dru Hill to pursue a solo career and his debut album was called “Unleash The Dragon” so maybe it was a clue as to what was going to happen? Maybe not actually as the whole group were influenced by the Dragon and Asian culture, as displayed in their band logo. Perhaps he was just a big show off then.

Glenn Hoddle link: Yes, it was The Times that did for poor old Glenn

Last week’s No 1 has dropped to No 2 but here’s that same performance repeated again as we get The Offspring and “Pretty Fly (For A White Guy)”. The dolls’ heads being used as percussion instruments as referenced by Jamie Theakston was surely inspired by the cover of the album “Yesterday And Today” by The Beatles. Only released in America and Canada, it was an amalgam of the “Help!” and “Rubber Soul” albums but its original cover, nicknamed the “butcher cover”, depicted the band wearing white butcher smocks and covered with decapitated baby dolls and pieces of raw meat. The image caused so much controversy that it was immediately withdrawn by Capitol and replaced by John, Paul, George and Ringo gathered around a steamer trunk. Thirty years later, I’m pretty sure The Offspring’s TOTP stunt didn’t cause as much outrage despite Theakston’s talk of complaints in his intro. Maybe we’d got used to such imagery with the release of the original Toy Story film and the behaviour of Sid Phillips towards his toys…

Glenn Hoddle link: Glenn was a stylish, flair player – in fact he was pretty fly…for a white guy.

It’s a sixth different No 1 in six weeks (and that run will carry in for a while yet) as Armand van Helden is straight in at the top with “You Don’t Know Me”. Now, this guy had already been on a No 1 record but he didn’t really get the credit for it. What am I talking about? Well, he did the remix of Tori Amos’ “Professional Widow” which topped the charts in 1997 as “Professional Widow (It’s Got to Be Big)” but Tori’s management only authorised the release if she was given sole credit (even though she had nothing to do with that version). Armand finally got his official solo hit two years later which kind of seems like a case of fairs’s fair.

The guy up there doing the singing (singing on a dance anthem?!) is one Duane Harden who was allowed to go off and write the lyrics alone by van Helden while he got in with the business of putting together the samples to form a looping track which Harden’s vocals would be laid over. The result was a piece of New York house that had that all important crossover appeal. Armand would go to No 1 again 10 years later alongside Dizzee Rascal on “Bonkers”.

Glenn Hoddle link: There’s nothing except…they’ve both been on TOTP! Glenn Hoddle on TOTP? You better believe it…

Order of appearance	Artist	Title	Did I buy it?
1	Bryan Adams / Melanie C	When You’re Gone	Negative
2	Garbage	When I Grow Up	No but it’s pretty good
3	Inner City	Good Life (Buena Vida)	Nah
4	The Divine Comedy	National Express	No but I had that Best Of album
5	Leilani	Madness Thing	Nope
6	Dru Hill	These Are The Times	Not really my thing
7	The Offspring	Pretty Fly (For A White Guy)	No
8	Armand van Helden	You Don’t Know Me	I did not

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

TOTP 29 JAN 1999

Posted on 23 Days Ago by 80stastic

We’re nearly through January in these 1999 TOTP repeats and the charts, with a couple of notable exceptions, have been cleansed of all those Christmas hits as those record company new release schedules kick in. For example, four of this week’s Top 5 are new entries and we’ll see three of them on this show. There no sign of any new presenters though as stalwart Jayne Middlemiss is on hosting duties again for this one. A bit of admin before we get into it. That woman stood next to Jayne with a sign saying ‘Now can I have a pay rise?’ – what was that all about? Here’s the marvellous TOTP Archive website (https://totparchive.co.uk) with the answer:

“At the beginning of the episode, Zoe Alpass, a broadcast assistant on the Radio 1 Zoe Ball breakfast show, stands next to Jayne Middlemiss holding a placard that says “Now can I have a pay rise?” Previously on Radio 1, there had been banter about her wanting a pay rise, and they challenged her to appear on TV to get one”

With that sorted, let’s get into it. We start with the No 2 song and the biggest hit of Terrorvision’s career. Said career was a model of consistency. Over a five year period up to this point, they’d had eleven Top 40 UK hit singles but only two of them made the Top 10 with eight of the other nine peaking between Nos 29 and 20. When it came to albums though, only one of their four released so far had made the Top 10 and indeed, their latest “Shaving Peaches” peaked at a lowly No 34. Their failure to command bigger commercial achievements had led to talk at record company EMI about dropping them…and then came “Tequila”. Sort of. The track that crashed into the charts at No 2 wasn’t the version on the album but a remix by Mint Royale which had been championed by Zoe Ball who had a big public profile as Radio 1’s Breakfast Show DJ and partner of Norman Cook aka Fatboy Slim who himself had just had a No 1 record with “Praise You”. Radically different from the version on the album, the single release had added children’s voices and a whistles and bells feel to it which lifted it from an average rock track into a huge party anthem. This was the aforementioned Fatboy Slim effect on Cornershop’s “Brimful Of Asha” part II. Naturally, the remixed version of the single caused consternation amongst the band’s loyal fanbase* but found a whole new mainstream audience.

*A poll on which track to release from the album distributed to fan club members had resulted in a different song being voted as the favourite.

According to singer Tony Wright, its release was delayed by a week presumably so not to clash with fellow EMI act 911’s own tilt at the No 1 spot although Wright seems to misremember it as being Geri Halliwell whom they were up against. Whatever the truth, in the end, “Tequila” would come up one place short of topping the charts themselves. As the original pressing of “Shaving Peaches” didn’t feature the Mint Royale remix (later reissues did include it), this caused the usual awkward conversations between record store staff and disappointed punters who’d bought it on the strength of the single that wasn’t on it. Despite the success of “Tequila”, the band were indeed dropped by EMI shortly after follow-up single “Ill Wishes” failed to make the Top 40 and they split in 2001 although they reformed in 2007 releasing their most recent album in 2024.

As part of her outro to Terrorvision, Jayne Middlemiss is waving a bottle of tequila about. That strikes me as a tad reckless. Granted she refers to it as a “nasty, intoxicating little substance” but still. Before the watershed! It gets you drunk from the legs up Jayne! Now, for one of those notable exceptions I referred to earlier. This was the fourth time on the show for Steps and their version of “Tragedy” with the first having been aired over two months before! That’s how long the single had been knocking around the charts including one week at the very top. It was still in the Top 3 this week so I’m guessing that’s why it’s on again as executive producer Chris Cowey continued his policy of showing hits that were still selling lots of copies as opposed to those that were moving up the charts.

According to the official charts website, “Tragedy/Heartbeat” is the group’s biggest selling hit ever with combined sales of 1.4 million units. That makes sense given it was a No 1 record and spent 15 weeks inside the Top 10. However, their other No 1 single “Stomp” is only their 11th best selling single. This anomaly is further compounded by the fact that the second best selling hit for Steps is “5,6,7,8” which never got any higher than No 14 in the charts. How do you explain that?

Now this is a real rarity. I cannot think when this has happened before on the show. Last week The All Seeing I performed “Walk Like A Panther” with Tony Christie on vocals. Seven days later and they are back minus Tony (who’s gone back to Amarillo according to Jayne Middlemiss – chortle) and in his place is the guy who co-wrote the song Jarvis Cocker! A hit sung by two different people in consecutive weeks? Was that unique? Whether it was or not, it gave us the chance to compare the two versions and work out which one we liked better. So who did you prefer, Jarvis or Tony? I think I’m leaning towards the latter but then we don’t actually get the full Cocker effect as it sounds to me as if Christie’s vocals are played during the chorus in this performance. What was that about? Couldn’t Jarvis reach those notes? It memoirs me of when Tracey Ullman couldn’t do the “Bay-bee!” line in “They Don’t Know” an they had to use Kirsty MacColl’s original recording. All very odd.

Back to the Top 5 now and another new entry for someone called TQ. Jayne Middlemiss ponders whether those initials stand for “Top Quality” or maybe “Two Quid” but it was actually TerranceQuaites, an R&B singer, songwriter and producer who, for a little while at the end of the 90s and start of the millennium had a string of hits starting with “Westside”. Now, this is far from my field of expertise but I can’t work this track out. Jayne says it’s a “smooth, soulful sound” and “gangster rap”. So which one is it? Can it be both? Maybe it can as sonically it’s definitely smooth and soulful but its words do warrant a ‘parental advisory explicit lyrics’ sticker. There’s a lot of editing and silent spaces in this performance to blank out the ‘n’ and ‘f’ words and the like. It’s all very confusing for a pop kid like me.

As for the title of the track, obviously it is culturally associated with rap artists and the East Coast-West Coast rivalry and indeed, the lyrics reference Ice Cube, Ice-T and Eazy-E and is dedicated to Tupac Shakur but did any of that mean anything to the white, middle class kids buying it to try and rebel against their parents. We used to get loads of them in the Our Price store in Altrincham where I was working, flipping through our rap section, doing the ‘pimp limp’ walk with as much swagger as they could muster and saying things like “Oh man, that’s bad!”. Just tedious. I’m betting they thought “Westside” was originated by this guy…

Whose idea was this?! Well, Chris Cowey’s I’m guessing. Sebadoh though?! A lo-fi indie rock band who’d never had a hit record before but had somehow sneaked into the Top 40 for one week never to return and they deserved a slot in the TOTP running order? Really?! Yes, “Flame” was this lot’s only chart hit and you can hear why – what a racket. This was never going to motor up the charts even with the exposure of this appearance – surely it was just a week one, fanbase thing? OK, so you could make a case that, by giving the viewers at home a glimpse of something out of left field, Cowey was providing an antidote to the wall to wall coverage of acts like Steps, Boyzone and the like which I, to be fair, have been decrying. However, I refer you to my previous question – Sebadoh though? Cowey could have had…

*checks chart for that week

…Duran Duran! In at No 23 with “Electric Barbarella”! Hmm. The video for it was a bit dodgy though so unless the band were available to be in the studio…

…Whatever! I, personally, could live without this particular distraction and having to watch a lead singer who was desperately trying to recreate looking like John Lennon when The Beatles played that famous, impromptu gig on the roof of the Apple Corps headquarters at Saville Row. Get back indeed.

Despite dropping five places to No 6, last week’s No 1 is back on the show. Now, “A Little Bit More” might seem like a sweet ballad and therefore a perfect choice for 911 to cover (I said as much in a previous post) but listening to the lyrics, I’m not so sure it is. Look at some of these lines:

“When your body’s had enough of me
And I’m layin’ flat out on the floor
When you think I’ve loved you all I can
I’m gonna love you a little bit more”

Source: Musixmatch
Songwriters: Bobby Gosh
A Little Bit More lyrics © Bygosh Music Corp.

Erm…could that not be perceived to be about the carnal act? Then there phrases like “I’ve got to be touchin’ you” and “turns me on” and “we better get it on now” – this is double entendre territory at least. To think that my Mum and Dad had the Dr Hook album with this on! Eeeewww!

This next performance couldn’t be any more current. The debut single by a fresh, new artist that the whole world was excited about if you believed what was being written about them and there were plenty of column inches. There have been a few bands down the years where the hype about them before they’d even released anything has been huge. Sadly, in nearly all of those cases, the hype has been mere hyperbole. Back in 1985, the Roaring Boys were meant to be the new aforementioned Duran Duran but it turned out that we didn’t even want the existing DD and so they sank without trace. A year later, the future of rock ‘n’ roll had arrived to save us in the form Sigue Sigue Sputnik but their publicity machine was infinitely better than their music. A decade on from them, Menswear created a buzz about themselves with their limited copies policy of their first releases and narrative as the poster boys of Britpop. They burnt brightly but briefly.

And then, as the end of the decade neared, came Gay Dad. So what was so special about them? Well, there was their headline making name but more than that, lead singer Cliff Jones was a former journalist for Mojo, The Face and Melody Maker so there was a whole narrative developed about how he’d gone from writing about pop stars to being one (though Neil Tennant had beaten him to that story by about 15 years). The there was the fact that due to an early test pressing of their track“To Earth With Love” getting into the hands of Radio 1’s Mark Radcliffe and getting airplay, a whole subplot about them being the saviours of rock ‘n’ roll without even having a record out evolved. Their label London had to rush release the single leading to even more clamour for the band. Predictably, when it finally came out, it wasn’t very good. It sounded like they were trying too hard to manufacture a composite of every successful rock/pop song of the last few years into one track. The pretentious performance here with Jones taking himself oh so seriously only upped the pomposity levels and what was with the matching Walker Brothers/Birdlamd haircuts?

Its peak of No 10 was a success on a superficial level but its quick descent down the charts (Nos 28 and 39 in the following two weeks) also suggested Gay Dad might be a short lived fad. Conversely, follow up single “Joy” was a much better song. Why hadn’t they opened their account with that instead? Debut album “Leisure Noise” was hardly a runaway success peaking at No 14 and sophomore effort “Transmission” couldn’t reverse their fortunes, not being helped by lead single “Now Always And Forever” peaking at that most unfortunate of chart positions No 41. Gay Dad would ultimately linger on until 2002 when they split.

We have a new No 1, the fifth in as many weeks and we’re not even out of January yet. This time around it’s from an unexpected source – The Offspring with “Pretty Fly (For A White Guy)”. Having only ever had two UK chart entries previously (neither which made the Top 30), here were the Californian pop-punk rockers going straight in at the top! I have to say that I didn’t know much about them before this moment despite:

a) the band having released their first album in 1989

b) my having worked in record shops since 1990

I knew the ‘skeleton’ cover of their 1994 album “Smash” but that was about it. “Pretty Fly (For A White Guy)” was very much of that 90s pop-punk rock sound that would make stars of the likes of Green Day, Blink-182 and Sum 41 but it was actually the aforementioned “Smash” album which broke The Offspring and precipitated a move to major label Columbia. Their first release for them “Ixnay On The Hombre” underperformed commercially but their fifth album “Americana” would sell 10 million copies worldwide and go platinum here in the UK. Did the band’s existing fanbase appreciate their new found commerciality? Maybe not but hey, deal with it.

I mentioned earlier when discussing TQ those white, middle class kids buying rap music to rebel against their parents and guess what? That’s exactly what “Pretty Fly (For A White Guy)” is about! No really. Here’s @TOTPFacts to confirm:

Offspring vocalist Dexter Gordon on “Pretty Fly (For A White Guy)”: “It’s really inspired by wannabe gangsters. Guys who go to malls and get the gangsta rap clothes. Guys on Ricki Lake who won’t listen to their moms.” #TOTP
— Top Of The Pops Facts (@TOTPFacts) January 9, 2026

“… [Guys] from, like, Omaha, Nebraska – regular white-bread boys, but who act like they're from Compton. It's so fake and obvious that they're trying to have an identity.” #TOTP
— Top Of The Pops Facts (@TOTPFacts) January 9, 2026

OK, their American counterparts but for Omaha read Altrincham. The Offspring are still together albeit with a few line up changes but front man Dexter Holland is still in the ranks and holds a PhD in molecular biology. Pretty dry for a punk guy.

Order of appearance	Artist	Title	Did I buy it?
1	Terrorvision	Tequila	No thanks
2	Steps	Tragedy	Negative
3	The All Seeing I	Walk Like A Panther	It’s a no from me
4	TQ	Westside	Nope
5	Sebadoh	Flame	Never
6	911	A Little Bit More	No
7	Gay Dad	To Earth With Love	Nah
8	The Offspring	Pretty Fly (For A White Guy)	I did not

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

TOTP 22 JAN 1999

Posted on 27 Days Ago by 80stastic

Another day, another TOTP repeat to write about. I am worn out physically, mentally and creatively by this now nine year old blog. Who’s on this particular show then? Well, another dance track based on an old Bee Gees song, another showing of the Bryan Adams/Melanie C hit, another boy band at No 1 with a cover version and Another …Level. It’s also another stint as presenter for Jayne Middlemiss (at least she’s not Jamie Theakston!) who does another pointless ‘interview’ in the backstage area with one of the artists. Tedious.

We start with that Bee Gees inspired dance track by Blockster which is actually just a repeat of the performance from last week’s show. “You Should Be…” had actually dropped five places from its chart debut and peak position of seven days prior but that wasn’t enough reason for executive producer Chris Cowey not to show it again. He’d have probably argued that it was still in the Top 10 and so still a popular record with an audience. Added to that, there weren’t many new releases to showcase. Why couldn’t we have had another showing of the (award winning) Fatboy Slim video for “Praise You” though? As it was, we only got to see it once. Anyway, it was Blockster who got the Cowey nod and therefore another chance to see another guy fronting an old Bee Gees tune in a white suit. Why did they all have white suits? Yes, I know why – to approximate the look created for the character of Tony Manero played by John Trovalta in Saturday Night Fever. Plus the Bee Gees original of “You Should Be Dancing” was in the film’s soundtrack but I guess what I’m trying to say is it’s not very inventive is it?

It’s another hit for Another Level. This one was called “I Want You For Myself” and it’s the usual R&B, bump ‘n’ grind ballad nonsense that we’d already come to expect from this lot despite only being four singles into their career. I could never see what their appeal was. From what I can work out, they were mainly a UK phenomenon with limited success elsewhere. Were they good looking? Sort of. Was there a gap in the market for an R&B boy band? Maybe. Wikipedia says their debut eponymous album never got higher in the charts than No 13 despite containing all those hits but that it was also certified platinum. Those two stats don’t seem synonymous with each other somehow. Their second and final album “Nexus” would only sell a third of the amount of copies as its predecessor meaning that it wasn’t able to take the band to…ahem…another level of success.

From the banal to the downright quirky. Sheffield electronic trio All Seeing I had bagged themselves a hit the previous year with their take on the Buddy Rich version of “Beat Goes On”, originally a hit for Sonny & Cher. For the follow up, they sought out two other sons of Sheffield from differing music eras. A chance meeting with Jarvis Cocker when Pulp appeared on an episode of TOTP the same week as All Seeing I led to Jarvis co-writing “Walk Like A Panther”. The track was put together specifically with legendary crooner Tony Christie in mind. The master of hits like “I Did What I Did For Maria” (which is referenced in “Walk Like A Panther”), “(Is This The Way To) Amarillo” and The Protectors theme tune “Avenues And Alleyways”, Christie’s career was dormant by 1999 with no chart entry since 1975. Despite the potential opportunity offered to him, Christie was originally reluctant to take up the offer until his son talked him into it. The result was a slinky, prowling track that, if nothing else, provided the charts with an antidote to all the generic dance and R&B fodder they seemed to be full of.

Despite the success of “Walk Like A Panther”, Christie’s career went back into hibernation until the intervention of comedian Peter Kay whose Phoenix Nights sitcom featured “(Is This The Way To) Amarillo” heavily promoting a renewed interest in the singer. In 2005, the track was used as the Comic Relief single for that year going to No 1 for seven weeks, the longest running chart topper since Cher’s “Believe” in 1998. A retrospective Best Of album was also a No 1. As for All Seeing I, one further minor hit with Human League’s Phil Oakey followed before they called it a day in 2002. The various members still work in the music business though with one of them having a brief cameo as one of the Weird Sisters rock band in Harry Potter and the Goblet of Fire.

P.S. This is who Tony Christie has been reminding me of…(sorry Tony)

Another 70s disco track reworked for the 90s! This time it’s Donna Summer who provides the source material (at least it’s not the Bee Gees again!) as her 1979 hit “Bad Girls” is covered by Juliet Roberts. Now, I’m not sure what the reasoning behind this release was other than the classic ‘need-a-hit-do-a-cover-version’ record company tactic but if it was all about that, then it worked taking Juliet to No 17 for what would be her final hit completely under her own name*.

*She would have a No 11 and dance chart No 1 hit in 2001 alongside David Morales.

The staging in this performance seems slightly jarring with Juliet positioned at the back on her own mini stage but behind her four backing singers who are front and centre. I know this role reversal has been done before – in their debut TOTP performance Oasis had Liam singing from the back of the stage – but I’m not sure it works that well here. All eyes are drawn to the backing singers in their bright red dresses which kind of undermines Juliet I feel. Maybe she felt more comfortable not completely in the spotlight? Maybe she could have occupied that space between the back of the stage and the front and been, you know, “caught in the middle”? Ahem.

Here’s one of those bands that I knew the name of but was fairly ignorant of how they sounded – at the time anyway. Having listened to Three Colours Red* retrospectively, it seems to me that this single was a bit of a departure from their earlier sound. Hits like “Sixty Mile Smile” and “Nuclear Holiday” were that classic indie rock sound that we’d seen from many a skinny, white boy group down the years. However, “Beautiful Day” was entering epic, rock ballad territory akin to something Muse might have come up with. Not a bad example of the genre as these things go but somehow the band couldn’t sustain and they split in 1999 despite two Top 20 albums and being signed to Creation Records. That old chestnut ‘musical differences’ was given as the reason. A reunion in 2002 would last for three years but without any further commercial success, a second permanent split followed.

*Maybe I was aware of them due to their name also being the concluding part of the Polish film director Krzysztof Kieślowski’s Three Colours trilogy.

It’s time for that Bryan Adams/Melanie C track again now. It’s the fourth time “When You’re Gone” has been on the show with the first being way back on the 11th December 1998. In the intervening weeks, it had not been lower than No 8 in the charts following its No 3 peak on its debut. This particular week it was No 6 again in a run of three consecutive weeks in that position. What was it with Bryan Adams and massively lengthy chart hits?! Did all of the above make a secure enough case for all these repeated appearances? I’m not sure. From a blogging point of view, absolutely not. What am I supposed to keep saying about this one week after week?! Well, we’ll find out as there is still one final appearance to come in a couple of weeks. Bryan and Melanie – I can’t wait until when you’re gone.

Oh god! What’s this? A dance version of Roxy Music’s “More Than This”?! Of course it is! Just what the world needed! The woman tasked with fronting this carbuncle of a hit was Emma Sarah Morton-Smith who was restyled as Emmie for promotion purposes. We’ve seen some horrific dance takes on retro hits in the past such as Rage’s horrible treatment of “Run To You” by Bryan Adams and Nikki French’s woeful cover of Bonnie Tyler’s “Total Eclipse Of The Heart” but surely Roxy Music’s back catalogue should have been sacrosanct? Apparently not as Bryan Ferry himself gave his blessing to the project. Bryan! What were you thinking?! Despite a few near misses, Emmie would never have such a big hit again and would end up as a radio DJ on Heart Yorkshire and a presenter on QVC. Well, she did seem to know a thing or two about selling your soul…

P.S. Is that Duran Duran guitarist Dom Brown up there on stage with Emmie? I think it is you know.

Well, it had been coming. A relentless push over three years and eight consecutive Top 10 hits had led to this moment. 911 finally had their chart topper and it was a nasty cover version. Of course it was. They’d already covered Shalamar (“A Night To Remember”) and the ubiquitous Bee Gees (“More Than A. Woman”) so why not go for the hat-trick by turning to an old Dr. Hook number? “A Little Bit More” had been a No 2 hit in the UK in the sweltering Summer of 1976 and was a perfect choice of ballad for the three pop puppets of 911. They even got to sit down for once to sing it rather than pulling all their usual “Bodyshakin’” dance moves. It was also a horribly cynical move designed to give the trio the one thing their career had been missing. Once achieved, it was as if the spell had been broken or at least the project completed. Only two more hits would follow and a line was drawn on the career of 911, at least as chart stars – two reunions would follow and the group are nominally still together to this day. A little bit more? No, you’re alright thanks lads. As Public Enemy once told us, “911 Is a Joke”.

Order of appearance	Artist	Title	Did I buy it?
1	Blockster	You Should Be…	No
2	Another Level	I Want You For Myself	No thanks
3	All Seeing I	Walk Like A Panther	Interesting but no
4	Juliet Roberts	Bad Girls	Nah
5	Three Colours Red	Beautiful Day	Nope
6	Bryan Adams/Melanie C	When You’re Gone	I did not
7	Emmie	More Than This	Hell no!
8	911	A Little Bit More	Of course not

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree

https://www.bbc.co.uk/iplayer/episode/m002plnc/top-of-the-pops-22011999

TOTP 15 JAN 1999

Posted on 29 Days Ago by 80stastic

We’re in mid January 1999 and Christmas is long gone and well behind us. The release schedules have woken up and been reactivated so there are some ‘new’ songs on tonight alongside some of the older hits that are still knocking about the charts which executive producer Chris Cowey doesn’t seem able to let go of. To that end, two of the first artists on tonight both featured in the last show. Indeed, they were the first two songs in that episode from seven days prior. As Men At Work once sang – “it’s just overkill”. Anyway, Kate Thornton is our host and we start with “End Of The Line” by the Honeyz. This was its third appearance on the show and this performance was just a repeat showing of the previous week’s. Having said that, it was a very hardy hit spending five weeks inside the Top 10 including the busy festive period when singles can get swept away in the Christmas rush. With nothing much else to say about this one, I looked to the internet for inspiration and found a piece online that talked about the purple outfits the group are wearing here which they also donned in the video. The article says:

“…the purple overcoats, which were low-key iconic in that they never permeated popular culture but remain a recognisable visual reference point within the Honeyz’ narrative.”

Paul Begaud – cantstopthepop.com – Dec 2020

Look, I’m no expert on the Honeyz so I should defer to Paul but, on the other hand, really?! Iconic?! They were purple overcoats not Geri Halliwell’s Union Jack dress!

The mid to late 90s fascination with the disco era of the Bee Gees was quite a thing. Seriously though, look at all of these hits that were either cover versions or featured samples of the Gibb brothers’ work around that period:

“How Deep Is Your Love” – Take That – 1996
“Words” – Boyzone – 1996
“Stayin’ Alive” – N-Trance – 1995
“We Trying To Stay Alive” – Wyvlef Jean – 1997
“Night Fever” – Adam Garcia – 1998
“More Than A Woman” – 911 – 1998
“Tragedy” – Steps – 1998

The trend continued apace in early 1999 with the highest chart entry of the week – “You Should Be…” by Blockster. This was a vehicle for DJ, producer and remixer Brandon Block whose career had seen him play all the ‘super clubs’ such as Up Yer Ronson, Ministry Of Sound and Republica. In 1999, he became a chart star with this reworking of the Bee Gees classic “You Should Be Dancing”. Given the glut of Bee Gees hits at the time, it doesn’t seem a very inventive concept but I guess he executed it pretty well. He’s the guy on the turntables (obviously) who looks a bit like The Apprentice reject, Strictly Come Dancing loser and JD Vance hanger on Thomas “Bosh” Skinner. However, for some of us non-dance heads, he is best known for this incident at the BRITS 2000…

Supposedly he was off his face and was convinced by the friends he was with that he had won an award and that he should go and collect it on stage. Ah, we’ve all been there. For instance, I was once on holiday in New York and found myself in a bar called The Slaughtered Lamb, a horror-themed bar in Greenwich Village. It had props like caged skeletons and werewolves. I’d had a few (OK, a lot!) and my friend Robin convinced me that the werewolf figure had blood dripping down its face and that I should report it to the bar staff. So I did. The woman behind the bar dismissed me like the fool I was whilst Robin and the rest of our group guffawed.

Anyway, Brandon Block seemed to learn from his public embarrassment and in 2009 agreed to take part in an anti-drugs campaign for the government. He followed that up by working with Blenheim the London drug and alcohol treatment service as a project worker and has also been employed by the NHS, working with people who have multiple complex needs. He currently works as a Stress Management and Goal Mapping Coach with people suffering from mental health issues.

Here’s that other hit that was on just last week from Bryan Adams and Melanie C. I’ve got nothing left to say about “When You’re Gone” so I’m going to shamelessly pinch a story from a podcast I’ve discovered called the Eighties Archive Podcast. It’s basically two fellas talking about 80s music but not the obvious stuff. They interview people from back then who may or may not have had hit records and it’s actually very engaging mainly because of their enthusiasm for the period. So you might get say, Leigh Gorman from Bow Wow Wow who was brilliant or Richard Jobson of The Skids and The Armoury Show (again brilliant) or some bloke who used to be in Roman Holliday (not so brilliant). Anyway, in their latest show, one of the presenters told a tale of how he was working in the Our Price store in the Lakeside shopping centre in 1991 at Christmas when all the punters seemed to want to buy was “Bohemian Rhapsody” by Queen (rereleased after Freddie Mercury’s death and that year’s festive No 1) and “(Everything I Do) I Do It For You” by Bryan Adams. So fed up was the presenter with this situation that, fuelled by the bravado of youth (him and his mates thought they owned the shop), he started shouting at people that they didn’t have any more Bryan Adams singles. One customer took offence and said “You’re meant to be a record shop” to which the presenter replied “And you’re meant to have taste!” and flicked him the V’s! Scandalous behaviour that was witnessed by an Area Manager on a store visit which led to the presenter being sacked and quite right too. The moral of the story? Don’t disrespect Bryan Adams…nor flick the V’s at a customer when working in a shop.

A classic case of a record label indulging in careful release scheduling now. Ultra had bounded into the charts the previous year with their debut hit “Say You Do” landing at No 11. However, subsequent hits had seen diminishing returns at play so another big hit was required. The best way to do that? Release a single – “Rescue Me” – when it doesn’t take as many sales to get you up the higher end of the charts of course – early to mid January. Then you double down by copying the sound of somebody else’s recent huge hit – in this case Savage Garden – and bingo! Your boy band has a Top 10 single. Beware though. The effects of a reviving January hit will wear off fairly quickly and you’ll be left with that underlying cause of discomfort which is the absolute knowledge that your charges are, in fact, worthless crud and you’ll have to accept the truth that they are going nowhere. Which is exactly what happened to Ultra who were never seen nor hear from again after this hit. Hurray!

Oh this is just taking the piss now! Why is Chris Cowey showing a performance from four months ago of “Millennium” by Robbie Williams? I suggested in a recent post that the reason behind a repeat showing of him doing “No Regrets” was because he’s Robbie Williams and I stand by that given the decision to re-show this. Just as Jamie Theakston had eulogised about him in his intro the other week, so Kate Thornton bangs on about how everyone loves Robbie including her and her Mum! Cowey justifies the clip’s inclusion in the show by tying it to the fact that his second album “I’ve Been Expecting You” is at No 1 (which was true) but it does rather feel like it was shoe-horning it into the show. Anyway, I’m not about to comment on this one again so here’s what I wrote about it in the 18 Sep 1998 show:

TOTP 18 SEP 1998

And the 28 Aug show:

TOTP 28 AUG 1998

What the Hell is this? Why was Cowey encouraging presenter Kate Thornton to engage with the artists ‘backstage’ in some horribly cringeworthy interactions (they don’t qualify as interviews) that weren’t funny, entertaining nor worthwhile. There have been numerous attempts to spice up the format over the years by conversing with the artists or sometimes just celebrity guests and I can’t think of one that has ever worked. Moving on…

And yet another 70s disco era song revived in the late 90s. At least this one wasn’t a Bee Gees tune. After Blockster earlier comes Da Click, a UK garage group on the FFRR label, who took Chic’s anthem “Good Times”, added a load of rapping all over it, interpolated the vocals from Luther Vandross’ “Never Too Much”, called it “Good Rhymes” and had a No 14 hit with it. The words ‘Yankee Doodle’, ‘feather’ and ‘macaroni’ come to mind. It’s not big and it’s not clever. It also wasn’t any good. I always got this lot confused with Da Hool who is a German DJ and producer. I think my confusion is understandable which is more than I can say about Da Click’s decision to record this rubbish. It gets worse. Two years later, one of Da Click’s number – DJ Pied Piper – was responsible for one of the worst No 1 records ever – the execrable 2-step garage ‘anthem’ “Do You Really Like It?”.

There have been a few very famous Justins in the world of music. Justin Timberlake, Justin Bieber, Justin Hawkins of The Darkness but before all of them came simply Justin. Only 15 years old here, this kid became a name after appearing in a BBC TV show called The Fame Game which followed the hopes and aspirations of young people wanting to be stars. Off the back of it, Justin (Osuji) would have a small Top 40 hit with a cover of “This Boy” by The Beatles. The follow up was “Over You”, a nothing ballad with the most ridiculous opening lines ever given to a 15 year old boy to sing who sounds like his voice hasn’t broken yet…

“I′ve had many many setbacks, misendeavours in my life

But it’s never gotten to me, all that trouble and my strife”

Writer(s): Cody Miller, Justin Stokes, Laurel Tessa Mahoney, Miranda Leigh Berdahl, James Colter Schaffner, Zach Inmon Walker

“Many, many setbacks”? By the age of 15? Now, of course, some kids have had terrible lives by that point and witnessed some awful things but in the context of trying to sell a love song to a TV audience, it just doesn’t seem authentic. Thankfully I don’t remember “Over You” at all. The only one of his that springs to mind is a cover of “Let It Be Me” by The Everly Brothers in early 2000 which would be Justin’s last Top 40 hit. Although his original pop career would end there, Justin would reinvent himself as Sonny J Mason working as a singer-songwriter and producer, collaborating with the likes of Craig David, Sugababes and So Solid Crew whilst also releasing his own solo recordings.

Yes! Finally! A great track gets its just deserts! Although it maybe felt unexpected that Fat Boy Slim was at No 1, it probably shouldn’t have done. After all, “Praise You” wasn’t the first chart topper he’d been involved with. As part of The Housemartins, he’d just missed out on being the Christmas No 1 by a week in 1986 with “Caravan Of Love” and at the very start of the 90s, his Beats International vehicle rose to the summit with “Dub Be Good To Me”. Then, of course, his Fat Boy Slim persona had already delivered him two big hits in 1998 with “The Rockefeller Skank” and “Gangster Trippin” so the writing had been on the wall for us all to read. And yet I do recall being slightly taken aback that he’d done it again in 1999 despite the quality of the track.

I’m not going to list all the source material that Norman Cook sampled to create “Praise You” – all that information is available via a quick search of the internet and in any case, I don’t know any of the originals at all so I can’t see the point in referencing them. What I do know is that he created an almost perfect dance track that had that curious, undefinable quality of being able to cross over into the mainstream. How did he do it? Musical genius? Pure luck? Cosmic forces at work causing the stars to align? If the answer was that obvious we’d all be raiding our record collections and looking to put together a patchwork of sounds that shouldn’t go together but somehow do. Something else that shouldn’t have worked but did was the promo video. Yes, that one. Directed by and starring Spike Jonze, it had the effect upon first viewing of making the audience exclaim “What the f**k was that?” so amateurish and so bizarre looking was it. Its protagonists, the fictional Torrance Community Dance Group, essentially invented the ‘flash mob’ phenomenon when filming the chaotic dance routines unannounced at the Fox Bruin Theater in Los Angeles. Indeed so low were its production values (the whole thing only cost $800 to make) that MTV refuses to air it initially until Cook advised them that it was supposed to look like that. It would go on to win three MTV Video Music Awards making their initial stance look ludicrous.

A small gripe though, why did we only get to see it once? Yes, it only had a solitary week at the top of the charts but that didn’t stop Chris Cowey from allowing multiple repeats of previous No 1s which were now descending the charts. Was he worried about the quality of the video as well?

Order of appearance	Artist	Title	Did I buy it?
1	Honeyz	End Of The Line	Nah
2	Blockster	You Should Be…	Negative
3	Bryan Adams / Melanie C	When You’re Gone	No
4	Ultra	Rescue Me	No thanks
5	Robbie Williams	Millennium	Nope
6	Da Click	Good Rhymes	I did not
7	Justin	Over You	Never happening
8	Fatboy Slim	Praise You	No but I had the album

Disclaimer

I make no claim to the rights of this show and all ownership and contents including logos and graphics belongs totally to the BBC or copyright holder(s).

All opinions on the music and artists featured are my own. Sorry if you don’t agree